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MEDIEVAL  FIGURES  OF  DEATH  (DRAWN  FROM  ANCIENT  PRINTS). 


t!Lf)t  Onibersitg  of  aif)icago 


ENGLISH  STUDIES 

(No.  I.) 


THE   ASSEMBLY   OF   GODS: 

OR 

THE  ACCORD  OF  REASON  AND  SENSUALITY  IN  THE 
FEAR  OF  DEATH 

BY 

JOHN  LYUGATE. 

EDITED    FROM    THE    MSS.   WITH    INTRODUCTION,    NOTES,    INDEX    OF    PERSONS    AND 

PLACES,   AND    GLOSSARY. 

BY 

OSCAR   LOVELL  TRIGGS,  MA.,  Ph.D. 


CHICAGO 

Ct)f  Sanibersits  of  dti^icaqo  ^ress 

1895 


DEDICATED  TO  MY  MASTER 

CHANCELLOR    GEORGE    EDWIN    MacLEAN 

WITH  HUMBLE  AFFECTION. 


PREFACE. 

This  edition  of  Lydgate's  Assemb/y  of  Gods  serves  a  double  pur- 
pose. It  is,  first,  a  study  in  literature  conducted  at  The  University 
of  Chicago,  a  part  of  the  work  having  been  first  offered  in  candi- 
dacy for  the  degree  of  Doctor  of  Philosophy  ;  it  is,  second,  a  study 
of  an  English  text  undertaken  for  the  Early  English  Text  Society 
of  London.     The  two  institutions  are  associated  in  the  publication. 

The  critical  and  linguistic  parts  of  the  work  and  the  notes  are  as 
accurate  and  comprehensive  as  I  am  able  to  make  them  with  the 
materials  at  hand.  The  hardihood  of  venturing  to  work  upon 
ancient  and  foreign  matters  in  a  land  that  has  no  past  at  its  back, 
that  neither  possesses  antiquarian  materials  nor  engenders  anti- 
quarian enthusiasms,  will  be  appreciated  by  those  who,  like  myself, 
have  made  the  endeavor  without  what  one  may  call  a  traditional 
training  for  the  event. 

The  literary  discussion  of  the  Introduction  maintains  the  gen- 
eral interest  that  any  work  of  literature  is  wont  to  arouse.  This 
portion  represents  the  reaction  which  the  poem  made  upon  my 
mind  with  its  own  knowledge  of  mediaeval  life  and  art.  While  this 
part  is  necessarily  somewhat  pedantic  I  have  tried  to  maintain  my 
natural  interest  in  literature  as  an  exponent  of  life,  as  the  expression 
of  the  imagination.  The  study  of  Allegory  is  a  selection  and  con- 
densation of  materials  that  I  have  gathered  for  an  extended  history 
of  Allegory. 

Every  one  who  works  in  Lydgate  will  find  himself  indebted  at 
every  turn  to  the  investigations  of  Dr.  Schick,  now  of  Heidelberg, 
who  edited  the  Teiiiple  of  Glas — indebted  not  only  for  matters  of 
fact  but  also  for  judgments  of  critical  and  literary  insight.  Workers 
in  the  same  field  will  bear  witness  to  the  value  of  the  edition  of 
Lydgate  and  Burgh's  Secrees  of  Old  Philisoffres  by  Mr.  Robert 
Steele,  of  London.  For  the  facts  relating  to  Lydgate's  life  and 
works,  reference  may  be  made  to  the  very  accurate  and  complete 
article  on  Lydgate  by  Mr.  Sidney  Lee  in  the  Dictionary  of  National 
Biography. 


iv  Preface. 

At  home  I  have  every  reason  to  be  grateful  for  the  encourage- 
ment and  assistance  given  by  Dr.  George  E.  MacLean,  formerly  my 
teacher  in  the  University  of  Minnesota;  also  for  kindly  help  ren- 
dered by  Professors  McClintock,  Blackburn,  and  Tolman,  of  the 
Department  of  English  in  The  University  of  Chicago.  Dr.  Klaeber, 
of  the  University  of  Minnesota,  has  performed  the  offices  of  a  friend 
in  reviewing  the  proofs.  My  brother,  Mr.  Flloyd  W.  Triggs,  has 
drawn  from  old  prints  the  figures  of  Death  for  the  frontispiece. 

To  Dr.  Furnivall,  the  veteran  Director  of  the  work  of  the  Early 
English  Text  Society,  every  one  is  indebted. 

Oscar  Lovell  Triggs. 

The  University  of  Chicago, 
October  2,  1895. 


CONTENTS 


Preface 
Introduction 


Chapter   I. 

A.  The  Manuscripts — Texts  A  and  B         -         -         - 

B.  The  Prints— Texts  C  and  D      - 

Chapter   II. 

A.  The  Title 

B.  The  Authorship  and  Date  -  -  .       - 

Chapter   III. 
The  Metre— The  Types  A,  B,  C,  D,  E,  F,  G,  H 

The  Mixture  of  Free  and  Regular  Stress 

Chapter   IV. 
The  Rime — (i)  End-Rime  .         -         -         -         . 

(a)  Identical  Rimes    -  -  - 

(b)  Imperfect  Rimes 

(c)  Feminine  Rimes  -         -         - 

(d)  Medial  ^/i!  .  .  -  . 
Rime-Index            .... 

(2)  Alliteration  .         -  .  .  . 

Chapter   V. 
The  Rime  and  the  Final  £^     - 

(i)  The  -y  -ye  Rimes  .  .  .  -  . 

(2)  The  Infinitives  among  the  Riming  Words 


in-iv 
vii-lxxvi 


vn 
ix 


Chapter  VI. 


The  Language 

A.  Vocabulary 

B.  Grammar 


XIV 

xix 


XXI 

xxi 
xxi 
xxi 
xxii 
xxii 
xxix 


xxx 

XXX 

xxxii 


XXXV 
XXXV 


VI 


Contents. 


Chapter  VII. 


The  Poem 


A.  Literary  Analysis    -------  xxxvii 

B.  Literary  Studies xl 

(i)  The  Religious  Character  of  the  Poem      -          -  xl 

(2)  The  Fear  of  Death  and  the  Scorn  of  the  World  xliii 

(3)  The  Conventional  Materials             ...  1 

(4)  The  Season  motif       -----  Hii 

(5)  The  Vision Iv 

(6)  Proverbial  Phrases     -----  Ivi 

(7)  The  Painted  Wall Ivii 

(8)  The     Admixture     of     Pagan    and     Christian 

Traditions -  Iviii 

(9)  The  Allegorical  Type     -----  Ix 

(10)  The  Relationship  between   the   Allegory  and 

the  Moral  Play Ixi 

(11)  The  Allegory  of  the  ^'ices  and  \'irtues    -         -  Ixiii 

Text 1-61 

Notes 11 

Index  of  Names  and  Persons,  and  Glossary             ...  '^'j 


INTRODUCTION. 

CHAPTER  I. 
A.  The  Manuscripts. 

I.  Text  A^R.j.  ig,  Trin.  Coll.  Camb. — This  is  a  quarto  volume, 
in  paper,  in  handwriting  of  the  second  half  of  the  fifteenth  century. 
It  contains  poems  by  Chaucer,  Lydgate  and  others  (v.  Skeat,  Chaiccer's 
•Minor  F.  p.  xliv.  Trin  :  Legend  of  Good  Women,  p.  xl.  T.  Skeat 
dates  the  MS.  before  1500).  The  earliest  possible  date  for 
the  volume  is  fixed  by  a  poem  written  by  Geo.  Ashby,  entitled 
Prisoner  in  the  Fleet,  and  dated  1463.  The  present  poem  occupies 
fols.  68a-98a.  A  table  of  Interpretations  (v.  Text  p.  i)  pre- 
cedes the  poem.  The  volume  belonged  formerly  to  John  Stowe 
and  was  the  source  of  most  of  Stowe's  additions  to  Chaucer  (Skeat). 

This  is  the  earliest  and  the  only  authoritative  MS.  known  to  me, 
and  its  readings  are  followed  with  but  a  very  few  emendations  in 
the  present  text.  The  following  are  the  textual  changes  made  : 
Eolus  is  printed  for  the  Colus  of  the  MS.;  Morpheus  for  Morpleus; 
in  feere  166  for  feere  ;  Phebe  243,  566  for  Phebus  ;  foom  104  for 
from  ;  presse  256  for  preef ;  she  412  for  he;  best  634  for  bost  ; 
.ther  635  for  the  ;  hys  815  for  was;  be  875  for  he;  comparyson 
891  for  a  form  not  clear  in  MS.;  with  976  for  without  ;  fly  ti85  for 
sty;  macrocosme  1420  for  macocrosme ;  omnipotent  1467  for 
omnipotens.  The  punctuation  and  the  capitalization  of  proper 
names  are  mine. 

The  orthography  is  highly  unphonetic,  the  most  marked  charac- 
teristics being  the  confused  uses  of  v  and  /,  and  the  arbitrary  doubling 
of  vowels.  Y  is  either  long  or  short :  wys,  whyle,  myne  ;  but  ys, 
hys  (also  his),  yn  (also  in),  hyt  (also  hit),  wyth  (also  with),  tyll,  wyll, 
lytyll,  shyp,  fysshe,  sylvyr,  knyghtes,  syttyng,  begynne,  etc. ;  /  is 
used  in  king,  philosophres,  scisme,  idylnesse,  Diana,  Cirus,  Virgyle. 
The  scribe  wrote  indifferently  se  or  see,  fle  or  flee,  fre  or  free,  so  or 
soo,  do  or  doo,  wo  or  woo,  mo  or  moo,  whos  or  whoos,  none  or  noon, 
hope  or  hoope,  hole  or  hoole,  sore  or  soore,  holy  or  hooly,  wordes 

vii 


viii  The  Manuscripts. 

or  woorde,  god  or  good,  ost  oost  or  boost,  blood  or  blody,  sone  or 
soone ;  regularly  —  deere,  leede,  scene,  seere,  reepe,  roote,  poore, 
aboorde,  stoode,  goold,  roode,  woode,  broode,  stoon,  loob,  etc. 
Final  e  (inorganic)  is  written  with  no  regularity,  occurring  after 
short  as  well  as  long  vowels.  The  consonants  generally  follow  the 
rule  of  doubling  after  short  vowels. 

2.  Text  B— Bibl.  Reg.  8.D.  IT,  Brit.  J/wj.— This  is  written  in  color 
on  vellum  and  in  two  parts.  The  first  part,  in  a  15th  centurv  hand, 
contains  Lydgate's  Siege  of  Troy  (5  books)  and  Siege  of  Thebes 
(illustrated).  The  second  part,  beautifully  written  and  illuminated, 
is  earlv  i6th  centurv  work  and  contains  a  Treatise  betn'cn  Troivthe 
^  Enformaeioii  by  Will  Cornish,  an  Elegy  bv  John  Skelton,  Stanzas  by 
Lydgate,  his  Testament  and  Assembly  of  Gods.  The  latter  poem  is 
indexed  in  the  MS.  as  Discord  bet^veen  Reason  and  Sensiialitie. 
This  MS.  does  not  differ  materiallv  from  the  Camb.  MS.  except  in 
its  omission  of  the  table  of  Interpretations.  It  is,  however,  most 
probablv  a  copv  of  the  print  by  Wvnken  de  Worde  (G.i  15S7), 
since  it  follows  that  ])rint  most  closely  in  orthograjjhy  and  in  the 
omission  of  line  812. 

The  chief  variations  of  this  text  from  A  are  given  in  the  follow- 
ing collation.  A  few  variants  are  given  from  Print  D.  To  indicate 
the  differences  in  orthography  the  variations  of  the  first  fifty  lines 
are  recorded  complete. 


I.  hys  I  his.  2.  toward  |  towarde ;  iourne  |  iourney.  3.  speere  |  spere ; 
begonne  |  begon.  4.  syttyng  |  sittinge  ;  solytary  |  solitary ;  alone  |  allone.  5. 
musyng  |  musinge ;  myght  |  might.    6.  sensualyte  |  sensualite ;   oon  |  one ;    acorde 

I  accorde.   7.  cowde  |  coude ;  nat  ]  not ;  bryng  |  bringe ;  about  |  aboute.  8.  long  | 
longe  -,  myght  |  might ;    oppresse  |  oppres.     9.  cowde  |  coude.     10.  heede  |  hede ; 
heuynesse  |  heuynes.     11.  myn  |  myne  ;  habytacle  |  habitacle.     12.  pylow  |  pilow. 
13.    dyssese  |  disease.     14.    anone  |  anon;    came  |  cam.     15.    so  lay  |  soo  laye; 
traunse  |  traunsse.      16.    slepyng  |  slepinge  ;     wakyng  |  wakinge.       17.    seyde  | 
saide.     18.  gret  |  grete ;    court  ]  courte  ;  iustyse  |  iustice.     ig.  auaylyd  |  auayled; 
sylogyse  |  silogyse.      20.  hit  |  it;    ys  |  is;  seyde  |  saide.     21.    nedys  |  nedis.     22. 
when  I  whan ;  sy  |  see  ;    bettyr  |  better ;  must  |  muste.     23.    seyde  |  saide  ;    hvs  | 
his;      cowmaundment  |  commaundemente.     24.  whedyr  |  wheder;    wold  |  wolde ; 
leede  |  lede.     25.  forthe  |  forth.     26.  tyll  |  till ;  paHyament  |  parliament.    29.  the- 
dyrward  |  thederward.     30.  hys  |  his.     31.  seyde  thow  |  saide    thou.      32.  seyd  | 
saide.     33.  heuen  |  heuyn  ;  outlier  |  either ;  elles  |  ellis.     34.  seyde  |  saide ;  myn  | 
myne ;  abydyng  ]  abidinge.     35.  ys  |  is ;  lytyll  |  litill ;  corner  |  cornoure  ;  callyd  | 
callede.     36.  these  wordys  |  thes  wordes ;  sayd  |  saide.     37.  hys  |  his.     38.  raggvs 

I  raggis ;  arayd  |  arayde.     39.  agayn  ]  agayne ;  whom  |  whome ;  Diana  |  Dyana. 
40.     seying  |  sayenge  ;    thow  |  thou.      41.    yeue  ]  gyue  ;    ageyn  [  ayen ;    soo  |  so. 


The  Prints.  ix 

42.  preyse  |  preise  ;  lord  |  lorde.     43.  proclamasion  |  proclamacioun.     44.  Plutoys 
Plutos  ;      cowmaundyd  |  commaundede.  45.    vppon  |  vpon ;      peyne  ]  payne  ; 

Strayte  |  straite.     46.  Diana  |  Dyana  ;  niyght  |  might.     47.    greefe  |  gref ;    gret  | 
grete.       48.    theym  |  theyme  ;    done  |  do;    they  |  ^ei ;  compleynyd  |  cowpleyned. 
49.  begyn  |  begynne  ;    Diana  |  Dyana ;    constreynyd  |  constreynede.     $0.  whyche 

I  whiche.     56.  j-ef  |  yf.      57.  howe  |  hou.      70.  thorough  |  thorugh.      71.  syngler 

I  synguler.  72.  shuld  |  sholde  ;  world  |  worlde.  73.  dyspleser  |  displeasure.  77. 
yeue  |  omitted.  94.  yow  |  you.  98.  thorough  |  thrugh.  99.  furst  |  first.  102. 
ferre  |  fer.  103.  merueyle  |  meruaill.  104.  from  |  come.  107.  ebbe  |  eb.  109. 
dykes  |  dyks.  117.  00  |  one.  130.  perysshe  |  perish.  132.  pepyll  |  people. 
135.    requyreth  |  req?<?'ret.        155.  vs  ]  hus.        166.  feere  |  infeere.        1S3.    togedyr 

I  togider.        186.     alther  |  alder.       210.    owne    wele  |  one    well.       216.    pyne  | 
payne.   217.  grogyng  |  grutching  (D  =  grutchyng).    228.  eft  |  oft.    233.  lak  |  lacke. 
234.  cese  j  sease.     235.  mery  |  mercy.       248.  compaygnably  |  companably.     256. 
preef  |  presse(D=presse).     269.  good  |  god.     283.  fawchon  |  fawcon.     325.  frese 

I  frele  (D  =  frese).  337.  was  then  |  than  was  (D  =  than  was).     348.  sythe  |  shithe. 
355.    chase  |  chose.       361.    Phebus  |  Pheby.       434.    forthe  |  for.       449.  sewerte  | 
suerte.      462.  smete  |  smote.      473.  cosdras  |  coldras.     480.  owther  |  eyther.      513- 
leyte  |  lightnynge.      520.  woU  |  will.      535.  drowthe  |  drought.     569.  I  hope  shall 

I  I  hope  I  shall.  587.  defaute  |  the  faute  (D  =  the  faute).  607.  at  ]  omitted 
(D  omits  at).  634.  bost  |  best.  648.  foule  rybaudy  |  foule  and  rybaudry  (D  has 
and).  673.  braggars  |  kraghers.  721.  for  sowght  he  |  forsoth  it.  753.  to  do  a  [  to 
a.  763.  row  I  route  (D  =  rowe).  773.  wore  |  were.  812  |  omitted.  815.  was  ] 
and.  825.  standardes  |  standartis.  875.  he  |  be.  966.  haue  ye  lost  |  haue  lost 
(D  omits  ye).  970.  guytornes  |  guytors.  974,981.  dubbyd  |  doubled  (D  =  doubled). 
1094.  rerewarde  I  reward.  11 13.  meryt  |  might  (D=myght).  1161.  she  ]  he.  1185. 
sty  I  fly.  1201.  as  they  came  by  Conscience  |  as  thei  to  C.  cam  (D  follows  B). 
1243.  bende  |  ben  (D  — ben).  1358.  kept  |  kepe  (D  =  kept).  1373-  menetyme 
whyle  I  meanewhill.  1467.  omnipotens  ]  omnipotent.  1516.  singlerly  |  sywgulerly 
1537.  awter  |  aulter.  1538.  Osee  |  Ozee  (D  =  Ozee.)  1539.  Salwon  |  Salamon. 
1591.  brayne  |  barayne.  1701.  shall  1  sail.  1705.  nouelte  |  newelte  (D=newelte). 
1744.  deuyacion  |  deuocyon.  1806.  gnawyng  |  knawiwge.  1854.  tryfyl  |  triphells. 
i858.sauns  |  sauns  (D=sanuz).  1975.  a  a  |  aha.  2020.  dowtys  |  doubtes.  2062. 
accusacion  |  actuacyon.     2103.  descendyd  |  descewdeth. 

B.  The  Prints. 

3.  TextC=G.  11587.  Brit.  Mits. — This  is  the  first  print  of  the 
poem  by  Wynken  de  Worde,  a  folio  dated  1498.  It  is  an  unique  copy. 
It  contains  the  Canterbury  Tales  and  Lydgate's  Assembly  of  Gods. 
Lydgate's  "treatyse"  is  printed  in  double  columns  on  the  last  15 
leaves  without  pagination.  On  the  recto  of  the  first  leaf  is  a  wood- 
cut of  the  Canterbury  pilgrims  seated  around  a  table.  This  print 
is  especially  valuable  in  that  it  assigns  the  work  to  Lydgate  in  the 
colophon:  "Thus  endeth  this  lytyll  moralized  treatyse  compiled 
by    dan     lohn   Lydgat  somtyme  monke  of   Bury  on  whose  soule 


X  The   Title. 

have  mercy."     The  print  has  commonlv  the   readings  of  MS.B.     It 
omits  line  812  but  has  the  table  of  Interpretations. 

4.  Text  D=^C.  13.  a.  21 .  King's  Collect.  Brit.  Mus. — This  print  is 
also  by  W.  de  Worde  and  of  about  the  same  date  as  the  first.  The 
Catalogue  of  the  Brit.  Mus.  and  Mr.  Lee  {Diet.  Nat.  Biog.  Vol. 
XXXIV,  p.  313,  V.)  give  the  date  1500,  but  Dr.  Schick,  on  the 
authority  of  Mr.  Gordon  Duff  (Brit.  Mus.),  says  it  is  earlier,  perhaps 
149S.  It  contains  L3'dgate's  Story  of  Thebes,  Assemble  de  dyeus  and 
Temple  of  Glas  (v.  Hazlitt,  Bibl.  p.  358,  No.  3  under  Lydgate ; 
Schick,  Temp,  of  Glas,  E.  E.  T.  Soc,  p.  xxvi,  9).  This  print  exhib- 
its no  notable  changes  in  the  text.    It  follows  most  closely  MS.  A. 

5.  Later  reprints  by  Pynson  and  Redman,  under  the  title  "The 
Interpretacvon  of  the  Natures  of  Goddvs  and  Goddesses,"  show  no 
important  textual  differences  (v.  Hazlitt,  Bibl.  p.  358,  No.  4  (b) 
(c)  (d).  Redman's  last  edition  is  dated  1540). 


CHAPTER    II. 
A.     The  Title. 


\\ .  de  Worde's  second  print  (D  above)  has  the  colophon : 
"Here  endeth  a  lytvll  Tratyse  named,  Le  Assemble  de  dyeus.''  This 
is  followed  by  de  Worde's  imprint  and,  on  the  following  page,  by 
the  cut  of  the  Chaucer  pilgrims  seated  about  a  table,  also  entitled 
Le  Assettible  de  dyeus.  Redman's  late  reprint  (1540)  ends  with  the 
colophon  :  "  Here  endeth  a  Ivtyll  treatyse  named  the  assemble  of 
goddis  afid  goddesses.''  The  catalog  of  Lydgate's  works,  probably 
made  by  John  Stowe  for  the  Chaucer-Lydgate  volume,  printed  by 
Adam  Islip  in  London  in  1598  and  1602,  includes  the  Banket  of 
Gods  and  Goddesses  with  a  discourse  of  Reason  and  Sensualitie  by 
Lydgate  (ed.  1602  fol.  376;  ed.  1598  fol.  394). 

In  the  Camb.  MS.  the  title,  in  the  handwriting  of  Mr.  Beauprei 
Bell  (Camb.  c.  1727),  is  given  as  Assetnbly  of  Gods  and  Goddesses  by 
Lydgate.  The  Brit.  Mus.  MS.  is  cataloged  as  Discord  between  Reason 
and  Sensualitie.  Lowndes  {Bibl.  Bohn  Lib.,  p.  141 9)  uses  the  title 
Banquet  of  the  Gods.  Ritson  {Bibl.  Poet)  lists  the  poem  apparently 
twice,  as  The  interpretation  of  the  names  of  goddes  and  goddesses  (No. 
13)  and  probably  confusing  it  \\\\\i  Reason  and  Sensuality  (Fairfax 
16),  as  Banket  of  gods  and  goddesses  with  a  discourse  of  reason  and 


The  Authorship  and  Date.  xi 

sensiialitie  (No.  113).  Bale,  probably  noticing  the  list  of  Interpreta- 
tions prefixed  to  W.  de  Worde's  print,  enumerates  among  Lydgate's 
writings,  De  Nominihus  Deorum.  Collier  (Hist,  of  Dram.  P.  I., 
p.  30)  refers  to  the  poem  under  the  title,  Interpretation  of  the  names 
of  Goddcs  and  Goddesses.  Schick,  in  his  chronology  of  Lydgate's 
works  {Temp,  of  Glas  cix.),  adopts  the  title,  The  Assembly  of  Gods ; 
and  so,  following  him,  Dr.  Furnivall  in  the  Early  Eng.  Text 
Society's  Announcements,  Sidney  Lee  in  the  Diet,  of  Natl.  Biog. 
(Vol.  XXXIV.,  p.  313,  v.,  18)  and  Mr.  Courthope  in  his  History 
of  English  Poetry  (L  p.  322).  We  may  suppose,  on  the  authority 
of  W.  de  Worde's  print,  that  this  was  Lydgate's  own  title.  It  is  not, 
however,  a  sufficient  title  as  titles  go,  inasmuch  as  it  does  not  express 
the  central  moral  of  the  story.  A  truer  name  would  be  the  Accora 
of  Reason  and  Sensuality. 

B.     The  Authorship  and   Date. 

I.  The  authorship.  The  external  testimony  is  in  itself  quite  suf- 
ficient to  establish  the  fact  of  Lydgate's  authorship.  W\  de  Worde's 
first  print  (C)  ascribes  the  work  to  our  monk  of  Bury  in  the  colo- 
phon :  "Thus  endeth  this  lytyll  moralized  treatyse  compiled  by  dan 
lohn  Lydgat  somtyme  monke  of  Bury  on  whose  soule  have  mercy." 
All  the  early  lists  (of  Bale,  Dibdin,  etc.)  agree  in  the  assignment. 
Collier,  in  his  History  of  Dramatie  Poetry  (Vol.  I.,  p.  30), 
printed,  for  the  first  time  since  the  black-letter  copies,  a  few  stanzas 
of  the  poem,  referring  the  work  to  Lydgate.  Dyce,  in  his  notes  on 
Skelton's  works  (p.  144),  makes  the  same  reference.  The  MS.  was  not 
known  to  Warton  or  Morley.  A  definite  reference  to  our  poem  is 
found  in  Hawes's  Pastime  of  Pleasure  (Chap.  XIV.).  Hawes  was  a 
pupil  of  Lydgate  and  recounts  as  the  works  of  his  master,  the  Life 
of  St.  Edmund,  Ealls  of  Princes,  Chorl  and  Bird,  Court  of  Sapience, 
Troy  Book,  Temple  of  Glas  : 

"  And  betwene  vertue  and  the  lyfe  vycyous 
Of  goddes  and  goddes[ses]  a  boke  solacyous 
He  did  compyle." 

This  must  refer  to  the  Assembly  of  Gods. 

That  Lydgate's  name  was  associated  with  the  battle  of  the  vices 
and  virtues  is  further  indicated  by  the  "extemporal  play"  of  the 
Seven  Deadlie  Sinns,  contrived  by  Richard  Tarleton  and  performed 
before  King  Henry  VI.  (v.  description  by  Collier,  Hist.  Dram.  P., 
III.,  p.  19S).  Our  monk  Lydgate  (here  spelled  Lidgate)  is  supposed 


xii  The  Authorship  and  Date. 

to  regulate  the  performance,  to  deliver  the  prolog  and  epilog  and 
to  explain  the  dumb  shows. 

As  to  internal  evidence  Lydgate's  finger  marks  are  all  here  :  the 
monkish  pietv,  the  nioralization,  the  allegory,  the  way  in  which  he 
dwells  upon  the  themes  of  death  ;  then  his  stock  words  and  phrases, 
especially  those  repeated  to  fill  up  the  lines  (v.  notes  and  Te7np.  of 
Glas  p.  cxxxvii.)  the  irregular  lines  (cf.  Sccrees),  the  rime-forms,  and 
the  peculiar  Lydgatian  metre  (type,  C.  p.  xvi  ;  v.  Schick,  Temple  of 
Glas,\\\\\)\  further,  the  saying  of  things  as  if  "undir  correccioun" 
(cf.  Secrees,  p.  i,  2),  the  self-depreciation  in  confessing  his  thin 
brain  (text,  1.  1591)  and  thin  wit  (text,  1.  1997)  and  the  request  to 
take  the  very  little  wheat  from  the  much  chaff  of  the  poem  (text, 
1.  2071-2;  cf.  Secrees,  p.  xx.  and  Temp,  of  Glas,  p.  cxl).  Lydgate 
is  one  of  the  easiest  poets  to  detect  for  his  conventional  manner. 

2.  The  Date.  So  far  as  I  am  able  to  determine  from  a  study  of 
the  contents  there  is  nothing  to  indicate  the  exact  date  of  the 
poem's  composition.  The  allegory  of  the  poem  is  wholly  removed 
from  historical  place  or  time.  Dr.  Schick  conjectures  the  date 
1403.  In  consideration  of  the  general  temper  of  the  work,  quite 
prosaic  one  must  allow,  the  nature  of  the  allegory,  and  its  domi- 
nant note  of  death,  I  am  inclined  to  assign  its  writing  to  Lydgate's 
second  period,  that  is,  after  141 2  (the  date  of  the  first  lines  of 
the  Troy-Book),  as  far  removed  as  possible  from  the  genial  influence 
of  Chaucer  which  is  so  distinctly  traceable  in  the  monk's  early  works. 
As  a  youth  Lydgate  was  loath  to  enter  the  monastic  life,  and  the 
poems  of  his  first  period  have  a  freshness,  a  humor,  and  a  love  of 
nature,  that  belong  to  the  world  outside  the  cloister.  But  we  have 
the  proof  of  the  Legends  and  Secrees  and  the  Testament  that,  as 
he  approached  age,  he  grew  more  })ious  and  more  prosaic.  The 
Assembly  of  Gods  is  the  work  of  a  thorough  Benedictine  both  in 
theory  and  in  practise.  And  there  is  a  positive  lowering  of  the 
poetic  tone.  There  are  no  plaints  of  lovers,  not  a  word  about  the 
"floure  of  womanhede,"  not  a  ha])py  thought  of  nature.  Life  is 
grown  serious,  and  the  monk,  anxious  concerning  the  battle  with 
Vice  and  earnest  to  direct  sinners  to  the  Lord  of  Light,  writes 
in  the  repentant  prayerful  temper  of  the  Testament. 

In  arguing  for  an  earlier  date  it  would  be  true  to  say  that  the 
influence  oi  Xh&  Romaunt  of  the  Rose'i?,  somewhat  evident  in  the  alle- 
gorv,  and  that  the  work  is  rather  more  original  and  creative  than  his  late 
riming  histories,  and  it  appears  in  the  classification  of  his  works  by 


The  Authorship  and  Date.  xiii 

Sidney  Lee  {Diet.  Natl.  Biog.,  Vol.  XXXIV,  p.  313,  314)  that  most 
if  not  all  of  the  poems  under  the  head  of  "Allegories,  Fables  and 
Moral  Romances"  were  written  before  141 2. 

On  the  other  hand  the  decline  in  the  Assembly  of  Gods  in 
poetic  power  is,  as  noted  above,  very  marked,  judging  from 
his  known  early  works.  In  poetic  conception  and  phrasing 
the  poem  is  in  every  way  inferior  to  the  Chorl  a/id  Bird  and 
the  Temple  of  Glas ;  the  one  written  before  1400  and  dedicated 
to  "his  maister  with  humble  affeccioun,"  the  other  written  about 
1403  in  imitation  of  Chaucer's  Hoiis  of  Fame.  There  is  not  a  line 
so  poetic  as  these  verses  from  the  Temple  of  Glas  : 

"A  world  of  beaute  compassid  in  hir  face 
Whose  persant  loke  do^  ^urugh  myn  hert[e]  race  "  755-6  ; 

nor  a  maxim  so  unworldly  wise  as  these  from  the  Chorl  and  Bird: 

"Songe  and  prison  have  noon  accordaunce,"  Min.  P.,  p.  183, 

and 

"  Bettir  is  fredom  withe  litelle  in  gladnesse 
Than  to  be  thralle  withe  al  worldly  richesse,"  Min.  P.,  p.  193; 

not  a  moral  so  manly  as 

"  When  wo  approche^  lat  myr^  most  habound, 
As  manhood  axep;  and  ^ough  pou  fele  smert, 
Lat  not  to  manie  knowen  of  ^in  hert." — Temple  of  Glas,  I177-9. 

The  theme  also,  notwithstanding  its  place  among  the  allegories, 
seems  to  indicate  a  late  date.  While  Lydgate  was  always  familiar 
with  the  thought  of  change  and  death,  it  being  his  frequent  opinion 
that  "all  do  but  show  a  shadow  transitory"  and  that  "all  stant  in 
chaunges  like  a  midsomer  rose,"  it  is  fair  to  assume  that  the  dread  of 
death  would  be  most  dominant  after  the  period  of  his  youth.  The 
Dance  of  Macabre,  \\A\\c\\\^  dL&^cx\^\\\&  of  the  painting  of  Death's 
procession  on  the  walls  of  St.  Paul's,  belongs  to  the  second  period, 
perhaps  to  the  year  1425  (Schick,  Temple  of  Glas,  cxii);  likewise  his 
translation  of  De  Deguileville's  Pelerinage  de  /'  Homme,  repre- 
senting life  as  a  pilgrimage  somewhat  in  the  manner  of  Bunyan's 
Pilgrim''s  Progress,  belongs  to  this  period,  the  year  1426. 

The  proof  from  the  metre  and  from  the  language  is  also,  I  think, 
on  the  side  of  a  late  date.  The  measure,  very  broken  and  irregular 
at  one's  best  mending,  is  nearer  the  long  lines  of  the  Secrees  than 
the  very  good  verses  of  the  Temple  of  Glas.     There  is  also  a  change 


xiv  The  Metre. 

in  the  poetic  phraseology,  as  will  be  seen  by  a  study  of  the  riming 
words,  which  change  compels  a  date  as  near  as  possible  to  the  time 
when  the  final  e  ceased  to  be  spoken.  Though,  as  to  this,  it  is  not 
impossible  that  Burgh  or  some  other  of  Lydgate's  ])upils  rewrote 
the  poem  as  we  have  it  in  the  text.  Still  it  is  not  probable  that 
anyone  would  alter  the  riming  words. 

On  the  whole  I  should  wish  to  assign  the  composition  of  the 
Assembly  of  Gods  to  about  the  year  1420  or  perhaps,  the  Story  of 
Thebes  being  finished,  to  1422  or  even  later.  In  the  absence  of 
direct  testimony,  any  more  exact  statement  of  the  date  must  wait 
the  publication  of  Lydgate's  other  works,  which  will  furnish  a  surer 
basis  for  poetic,  metrical  and  linguistic  tests. 


CHAPTER  III. 
The  Metre. 


In  the  MS.  the  metre  is  very  irregular.  Of  course  little  depen- 
dence can  be  placed  upon  MSS.  of  the  fifteenth  century,  written 
after  the  final  e  ceased  to  be  sounded.  We  know  that  many  little 
words  were  inserted  by  the  scribes,  who  regarded  the  lines  as  imper- 
fect. So  whether  Lydgate  himself  failed  in  this  poem  in  his  meas- 
ures or  whether  the  fault  is  due  to  the  scribes  can  not  be  determined. 
However,  it  does  not  appear  that  Lydgate  in  any  of  his  poems  was 
especially  skillful  in  the  mechanism  of  his  art.  He  was  himself 
aware  of  the  imperfections  of  his  verse,  and  in  the  Troy-Book  he 
confessedly  "sette  asyde"  truth  of  metre  and  took  "none  hede 
nouther  of  shorte  nor  longe."  Moreover,  none  of  Lydgate's  pupils 
exhibit  any  especial  grace  of  form.  Burgh,  his  nearest  pupil, 
readily  acknowledges  in  continuing  the  Secrccs  that  he  is  unable  to 
keep  his  measures  in  time  and  proportion  {Sec.  st.  219).  If  we  take 
Chaucer's  line  as  the  standard  of  melodv,  it  is  ])robal)le  that 
Lowell's  estimate  of  Lydgate's  verse,  a  "barbarous  jangle."  is  the 
correct  one.  Old  French  verse  with  its  great  variety  of  lines  and 
measures  (no  less  than  sixteen  —  Skeat's  Chaucer,  Vol.  VI,  p.  Ixxxvii) 
and  indeed  Chaucer's  own  verse  forms,  may  have  given  Lydgate  his 
license  to  vary  his  metres  at  will.  If  we  forego  a  fixed  metre  and 
read  the  lines  with  their  natural  accentuation,  a  fairly  good  rhythm 
is  secured. 

Our  present  poem.  The  Assembly  of  Gods,  is  written  in  the  com- 


The  Metre.  xv 

mon  seven  line  stanza,  which  came  to  be  known  as  the  Rhyme 
Royal,  riming  ababbcc.  The  scheme  of  the  Chaucerian  stanza 
cannot  be  rigidly  applied.  Every  liberty  in  respect  of  length  of  line 
and  character  of  measure  is  taken  by  Lydgate.  Some  lines  are 
bald  prose. 

Type  A.  In  the  first  place  examples  will  be  given  of  lines  which 
seem  to  have  five  iambic  measures  with  the  cresural  pause  after  the 
second  measure.     This  may  be  called  the  standard-line  form. 

43:  Then  was  |  there  made  J!  a  proc  |  lama  |  sion. 
45:  \'ppon  |  the  peyne  [   of  strayte  |  correc  |  cion. 
57:  Remem  [  bre  furst  I,  howe  I  |  a  godd  |  esse  pure. 
163:  For  hys  |  excuse  |[  came  yn  |  a  mess  |  ynger. 
750:  And  bade  |  hem  come  ||  in  all  |  the  haste  |  they  myght. 
816:  He  semyd  |  a  lorde  ||  of  ryght  |  gret  ex  |  cellence. 
980:  To  Wynne  |  theyr  spores  ][  they  seyde  |  thev  wold  (  asay. 
1026:  Whyche  made  |  the  grounde  j|  as  slep  |  yr  as  |  an  yele. 
1086:  But  all  I  the  tyme  [[  whyle  Ver  |  tew  was  |  away. 
1 146:  And  fro  |  thens  forth  j|  to  Sat  |  ysfac  |  cion. 

I.  The  caesura  in  the  standard  line  falls  generally  after  the  sec- 
ond measure,  but  Lydgate  shifts  its  position  at  liberty.  He  has 
more  freedom  than  Chaucer  in  this  respect,  though  the  latter  is  by 
no  means  regular  in  his  pauses  (v.  Skeat's  Chaucer,  Introd.  sec.  107). 
The  examples  here  given  to  illustrate  this  variation  include  lines  of 
different  types  (see  below).     The  pause  may  fall 

{a)  after  the  first  measure  : 
566:  To  compleyn  ji  than  Phebe  styrt  vppon  her  fete. 
1504:  Sate  [[  «&  Scrypture  was  scrybe  to  theym  all. 

{I))  after  the  third  : 
iS:  To  the  gret  Court  of  Mynos  ||  the  iustyse. 
782:  But  the  felde  was  clene  defaute  ||  fonde  he  none. 

{c)   after  the  fourth  : 
62 1:  Pryde  was  the  furst  ^at  next  hym  roode  ||  God  woote. 
879:  And  made  hem  be  carved  toward  Vyce  ||  y  wys. 

{d)  twice  or  thrice  in  a  line  : 
603:  Wherfore  ||  ^ow  Cerberus  ||  I  now  the  dyscharge. 
1 23 1:  Ys  he  soo  |j  quod  Vertu  ]]  well  he  shall  be  taught. 
I2I0:  Well  11  quoth  Feythe  1|  for  hys  sake  ||  I  shall  do  that  I  may  do. 
1377:  Now  Prayer  ||  efte  Fastyng  ||  &  oftyn  tyme  Penaunce. 

Type  B.  An  extra  svllable  may  occur  before  the  caesura  and 
at  the  end  of  the  line.  Two  such  syllables  may  also  occur  before 
the  caesura  (v.  11.  38,  390,  S08). 


xvi  The  Metre. 

{a)  Before  caesura  : 

38:  Brought  theder  Eolus     in  raggys  euyll  arayd. 

160:  Shape  vs  an  answer  j|  to  thyne  accusement. 

305:  Rewler  of  knyghthode  ||  of  Prudence  the  goddese. 

390:  There  was  sad  Sychero  1|  and  Arystotyll  olde. 

456:  Thus  haue  I  dewly  ||  with  all  my  dilygence. 

808:  Next  whom  came  Pacyence  1|  that  nowhere  hath  no  pere. 

908:  \Vell  menyng  merchauntes     with  trew  artyfyceres. 

{p)   At  end  of  line  : 
The  form  is  comparatively  infrequent  (v.  Chap.  IV,  c). 
9:  So  ponderously  ||  I  cowde  make  noon  obstacle. 
12:  To  rowne  with  a  pylow  ||  me  semyd  best  tryacle. 
60:  Thvs  traytour  Eolus  ||  hath  many  of  my  places. 
946:  In  thvs  mene  tvme  ||  whyle  \'eilu  thus  preuyded. 

Type  C.  The  thesis  may  be  wanting  at  the  caesura. 

8:  Eor  long  er  I  myght  ||  slepe  me  gan  oppresse. 

68:  So  that  the  deere  ||  shall  haue  no  resort. 

85:  Thow  knowest  well  jj  that  I  haue  the  charge. 

87:  No  shvp  may  sayle  |i  keruell  boot  ner  barge. 
233;  For  lak  of  shade  |i  I  dar  vndyrtake. 

279:  And  next  by  her  |1  sate  the  god  Saturne. 

600:  No  maner  of  th}Tig  jj  can  hym  hurt  nor  dere. 

618:  Hard  as  any  horn  \\  blakker  fer  then  soot. 

806:  Roody  as  a  roose  |i  ay  he  kept  hys  chere. 

I.  This  is  a  form  almost  peculiar  to  Lydgate  (v.  Schick,  Te77tp.  of 
Glas,  p.  Iviii.  C),  though  Chaucer  occasionally  employed  it  (Skeat, 
Chaucer,  Vol.  VI.  Introd.,  sec.  iio).  It  is  easy  however  to  read 
some  of  these  lines  with  four  accents;  thus  line  85  may  read: 
"Thou  knowest  well  that  I  haue  the  charge."  Other  lines,  however, 
as  618,  87,  etc.,  can  have  no  other  reading  than  that  given. 

Tvpe  D.   A  thesis  may  be  wanting  in  the  first  measure. 

17:  For  he  seyde  ij  I  must  yeve  atlendaunse. 
106:  Secundly  |[  whereas  my  nature  ys. 
124:  That  to  theym  |[  shukl  fall  opon  the  see. 
197:  Madame  ye  shall  haue  all  your  plesere. 
251:  To  be  had  j  wherfore  ye  may  nat  let. 
557:  Walewvng  with  hys  wawes  ji  &  tomblyng  as  a  ball. 
640:  Malyce  \   Frowardness  ]]  gret  lelacy. 
645:  Wrong  i  Rauyne  ||  sturdy  Vyolence. 
654:  Heresy  i|  Errour  ]|  with  Idolatry. 

Type  E.  A  trochee  may  take  the  place  of  an  iambic  in  the  first 
measure.  These  measures  are  best  read,  however,  with  "  hovering 
accent,"  as  Ten   Brink   {Chaucer's  Sp.,  p.  182,  sec.  316)  and   Gum- 


The  Metre.  xvii 

mere  {Handbook  of  Poetics,  pp.  i86,  187,  206,  224)  read  similar  lines 
in  Chaucer  and  other  English  poets. 


5 
374 
418 
472 

631 
648 

747 

760 

1174 


Musyng  |  on  a  maner  jj  how  that  I  myght  make. 
Cryspe  was  |  her  skyn  |j  her  eyen  columbyne. 
Seying  to  |  her  sylf  |]  that  chere  should  ^ey  repent, 
lason  ne  |  Hercules  ||  went  they  neuer  so  wyde. 
SlOwthe  was  |  so  slepy  ||  he  came  all  behynde. 
Boldnes  |  in  Yll  ||  with  Foule  Rybaudy. 
Pepyll  I  to  reyse  ||  hys  quarrell  to  menteyn. 
Gaderyd  |  to  Vertew  |j  in  all  that  they  mowte. 
Hauyng  |  in  her  hande  |1  the  palme  of  vyctory. 


Type  F.  There  may  be  a  double  thesis  in  any  measure.  In  many 
cases  the  extra  syllable  may  be  slurred  over.  But  the  trisyllabic 
measure  was  without  doubt  an  accepted  poetic  form  (v.  Ellis,  Early 
Eng.  Fron.,  ch.  iv,  p.  334;  ch.  vii,  p.  648.  Ellis  cites  69  examples 
in  the  Prolog.  See  Skeat,  ed.  of  Prioresses  Tale,&ic.,  Introd.  p.  Ixiii). 

7:  But  I  cowde  I  nat  bryng  |  about  |  that  mon  |  acorde. 

66:  He  breketh  |  hem  asondre  ||  or  rendeth  |  hem  roote  |  &  rynde. 

98:  For  hurt  |  of  my  name  ||  thorough  |  thys  gret  |  offence. 
126:  With  a  sod  |  eyn  pyry  ||  he  lapp  |  yd  hem  |  in  care. 
139:  The  more  gre  |  uous  peyne  ||  and  hast  |  y  iug  |  ement. 
199:  But  furst  I  I  yow  pray  !|  let  me  |  the  mat  |  er  here. 
361:  And  ones  |  in  the  moneth  ||  with  Phe  |  bus  was  |  she  meynt. 
383:  That  he  ther  |  with  glad  |  yd  all  |  the  com  |  pany. 
410:  But  there  was  |  no  rome  |  to  set  |  hyr  in  |  that  hous. 
472:  lason.  I  ne  Hercules  [|  went  |  they  neu  |  er  so  wyde. 
487:  To  the  dynt  |  of  my  dart  [|  for  doole  |  nor  des  |  tyny. 

Type  G.  Lydgate  frequently  expands  the  normal  pentameter  line 
to  six  measures.  Mr.  Steele,  the  editor  of  the  Secrees,  remarks  that 
the  greater  part  of  that  poem  might  be  scanned  on  a  six-beat  basis. 
If  such  lines  were  of  sporadic  occurrence  they  might  be  slurred 
over,  but  there  are  so  many  lines  with  the  longer  rhythm  that  the 
acceptance  of  the  Alexandrine  is  rendered  imperative.  It  is  possi- 
ble, of  course,  to  read  some  of  these  lines  with  four  accents,  as  if 
they  were  formed  on  the  model  of  the  alliterative  four-beat  meas- 
ures as  found  in  the  Mystery  Plays  (v.  York  Plays,  ed.  by  Smith, 
Introd.,  p.  li),  certain  ballads  (v.  King  John  and  the  Abbot  of 
Canterbuiy)  and  the  contemporary  alliterative  poems.  The  long 
doggerel  lines  in  Shakespeare  may  be  reduced  to  this  form  (v.  Quell, 
u.  For.,\'o\.  61,  p.  119,  3).  But  the  use  of  the  Alexandrine  was 
now  established  both  by  itself  and  in  association  with  other  metres 
(v.  Schipper,  Engl.  Met.,  I,  Kap.  5,  8,  13,  and  cf.  its  later  usage  by 


xviii  The  Metre. 

Wyatt,  and  see  Mirror  for  Magistrates,  ed.  by  Haslewood,  p.  123, 
for  mixture  of  pentameter  and  Alexandrine),  and  Lydgate  would 
naturally  adopt  the  form  at  a  time  when  every  irregularity  in  yerse 
was  permissible.  He  himself  was  most  attracted  to  the  French 
forms,  though  the  English  alliterative  principle  still  had  some  force 
in  his  verse.  I  think  there  can  be  no  question  about  Lydgate's 
Alexandrines. 

Mr.  Ellis  {Early  Eng.  Pron.,  ch.  vii,  p.  649)  thought  that 
Chaucer  made  use  of  this  variation  and  noticed  four  instances  in 
the  prolog  of  the  Canterbury  Talcs  of  what  seemed  to  him  to  be  a 
six-measure  line  (11.  148,  232,  260,  764),  all  of  w^hich  have  the  jus- 
tification of  the  best  MSS.  Zupitza  and  Skeat  in  their  critical 
texts  of  the  Prologue rtdncQ  these  lines  to  the  normal  (1.  764  bv  slur- 
ring). 

4:  Syttyng  |  all  sol  |  ytary      alone  |  besyde  |  a  lake. 
54:  Accord  I  yng  to  |  the  offence  ^1  that  he  |  to  me  |  hath  do. 

161:  And  ellys  |  I  most  |  precede  1|  opon  ]  thy  iug  |  ement. 

253:  And  when  |  Apol  |  lo  sy  ||  hit  wold  |  noon  oth  |  er  be. 

267:  Lyke  |  as  she  |  had  take  |1  the  man  |  tell  &  |  the  rvng. 

298:  The  pal  |  eys  ther  |  of  shone  ||  as  though  |  hit  had  |  be  day. 

325:  Clad  I  in  rus  ]  set  frese  |]  and  brech  |  ed  lyke  |  a  bere. 

327:  A  shepe  |  crook  in  |  hys  hand  j|  he  spar  |  yd  for  |  no  pryde. 

340:  Aboute  I  hymin  |  hysgyr  |  dyllstede  i|  hyngfyssh  |  esman  |  y  a  score. 

347:  She  lok  I  ed  eu  I  er  about  [j  as  though  ]  she  had  |  be  mad. 

359:  Fat  I  she  was  |  of  face  ||  but  of  |  complex  |  yon  feynt. 

364:  And  on  |  hyr  hede  |  she  weryd  |  a  crowne  |  of  sylj  uyr  pure. 

367:  He  had  |  a  gyld  |  yn  tong  j]  as  fyll  |  for  hys  |  degree. 

372:  By  I  hym  sate  |  Dame  Venus  ||  with  col  |  our  crys  |  tallyne. 

385:  In  sygne  |  that  he  ]  was  mastyr  !|  &  lord  ]  of  that  |  banket. 
So  I  read  lines  401,  404,  420,  421,  422,  462,  476,  490,  495,  496, 
497,  500,  504,  525,  542,  560,  634,  656,  817,  864,  937,  949,  952,  962, 
995,  999,  1048,  1050,  1093,  1097,  1106,  1113,  1120,  1167,  1204, 
1210,  1225,  1239,  1240,  1267,  1344,  1589,  1792,  2099,  2100,  2106, 
2107.  Lines  61,  102,  128,  130,  131,  338,  343,  578,  672,  856,  1000, 
might  be  read  either  as  Alexandrines  or  as  pentameters  of  type  F. 
Type  H.  There  are  occasional  four-measure  lines. 

232:  So  that  I  your  game  |  shall  nat  |  dyscrese. 

307:  Safe  on  |  her  hede  ||  a  crowne  |  ther  stood. 

444:  All  ye  I  gret  goddys  |  yeue  at  ]  tendaunce. 

693:  Getters  1|  chyders  |l  causers  |  of  frayes. 

758:  To  Ver  |  tews  frendys  I|  thus  all  |  aboute. 

979 :  These  four  |  tene  knyghtes  [  made  Vyce  j  that  daj'. 
1659:  Wherfore  ]  ar  chyl  |  dren  put  |  to  scoole. 
1834:  Of  eu  I  ery  mans  |  oppyn  |  yon. 


The  Metre.  xix 

In  this  manner  may  be  read  lines  i6,  17,  22,  27,  28,  47,  50,  94, 
134,  182,  204,  530,  550,  703,  722,  916,  1065,  1243,  1506,  1654,  1655, 
1740,  1839,  2004,  2035,  2046. 

2.  Of  course  many  lines  can  be  scanned  in  more  than  one  way. 
Other  prosodists  will  probably  not  agree  with  the  scansion  of  the 
examples  given.  It  is  difficult  and  often  impossible  to  determine 
the  pronunciation  of  many  words.  I  think  the  final  ^'s  are  often, 
if  not  generally,  mute.  The  rhythm  of  many  lines  would  be  broken 
by  the  requirements  of  the  Chaucerian  scheme  of  inflections.  It  is 
evident  that  during  Lydgate's  lifetime  the  language  was  undergoing 
transformation.  The  general  irregularity  of  the  metre,  the  intru- 
sion into  Chaucer's  carefully  constructed  seven-line  stanza  of  the 
four  and  six-beat  lines,  and  the  frequent  alliteration,  suggest  the 
influence  of  the  older  English  metrical  forms.  But  it  is  further 
obvious  that  Lydgate  used  in  composition  the  principles  both  of 
metre  and  of  stress. 

This  mixture  in  his  measures  of  free  and  regular  stress,  seems  to 
confirm  the  opinion'  of  Professor  Gummere  (v.  Ainer.  J.  of  Phil. 
Vol.  VII,  I,  p.  46)  that  the  English  iambic  is  not  merely  the  French 
measure  introduced  by  a  tour  dc  force,  but  a  "harmonizing  of  two 
great  systems,  the  Germanic  and  the  Romance,  the  rhythmic  and 
the  metric,  on  the  basis  of  two  representative  measures,"  the  heroic 
pentameter  line  being  the  "result  of  forcing  the  iambic  movement 
upon  some  late  form  of  our  old  four-stress  verse."  The  conditions 
are  thus  stated  by  Professor  Gummere:  "On  the  one  hand,  four 
stresses,  fixed  pause,  indeterminate  amount  of  light  syllables  ;  on 
the  other,  five  stresses,  shifting  and  slighter  pause,  strict  ordering 
and  number  of  light  syllables."  Proofs  of  such  compromise  are 
furnished  by  Chaucer,  the  majority  of  whose  pentameter  verses  are 
formed,  to  some  extent,  on  the  plan  of  the  O.  E.  line  of  four  stresses; 
bv  the  Mystery  and  Morality  Plays,  whose  irregular  measures  very 
plainly  display  the  continuance  of  the  English  traditions;  by  Skel- 
ton,  whose  peculiar  metre  seems  to  be  due  to  the  splitting  of  the 
O.  E.  long  line   and   the   riming   of  the  parts;  by    Spenser  in  his 

'  Little  attention  has  been  given  hitherto  to  this  view  of  Professor  Gummere, 
but  the  trend  of  opinion  now  seems  to  favor  it.  See  Courthope's  treatment  of  \.y^- 
ga.te's  verse  m  his  recent //isiory  0/ £nff/isk  Poetry,  I.,  pp.  326-33.  Cf.  the  state- 
ment of  Mr.  I.  Gollancz  in  his  edition  of  Cyn.  Ch7-ist,  p.  xvii  :  "  The  secret  of 
Marlowe's  discovery  (the  secret  of  blank  verse)  lies  in  this  that  he  Teutonized  the 
'versi  sciolti'  imported  from  Italy." 


XX  The  Metre. 

Shepherd's  Calendar,  which  combines  free  and  regular  stress  in 
a  remarkable  manner ;  and  again  by  the  heroic  verses  of  Shake- 
speare and  Spenser  and  of  Dryden  and  Pope,  many  of  which  have 
rhetorically  but  four  stresses. 

On  the  whole  Lydgate  followed  his  French  models,  or  more 
strictly  his  Chaucer.  The  many  alliterative  phrases  in  his  poem 
illustrate,  however,  the  traditions  of  the  older  poetry ;  such  a  line 
as  66b 

"or  rendeth  hem  roote  &  rj^nde" 

indicating  the  "rum  ram  ruf''  principle  of  composition.  The  varia- 
ble measure  and  line  reveal  the  confusion  into  which  English  verse 
had  fallen  after  Chaucer,  it  being  still  uncertain  whether  free  or 
regular  stress  would  prevail.  Had  Lydgate  been  favored  with 
Chaucer's  literary  environment  and  gifted  with  his  genius  and  ear 
for  rhythm  it  is  probable  that  he  might  have  maintained  the  master's 
delicate  Normanized  literary  English,  but  the  influence  of  the  vulgar 
Suffolk  tongue  with  its  accentual  principles  of  verse  and  its  rapidly 
disappearing  inflections  was  too  strong  for  the  monk.  Chaucer's 
regular  measures — regular  because  artificial  —  were  given  over  to 
confusion.  The  oral,  in  the  rude  times  of  the  fifteenth  cen- 
tury, superseded  the  literary.  From  Chaucer  to  Spenser  no  one 
was  able  to  give  permanency  to  the  forms  of  English  verse. 

That  the  metre  is  at  best  extremelv  irregular  is  shown  bv  count- 
ing the  syllables.  In  the  first  one  thousand  lines,  slurring  wherever 
possible  and  omitting,  except  where  forbidden  by  the  rhythm,  the 
final  <?'s,  the  following  result  is  given  : 

lines.  See  66,  340. 

See  404,  525. 


2 

14-sylla 

5 

13       " 

47 

12        " 

210 

II        " 

546 

10       " 

179 

9 

II 

8       " 

"  See  p.  xvii.  Type  F. 

Tvpes  B  and  F  make  up  the  ii-syllable  lines  and  D  and  C  the 
9-syllable  lines.     G  has  frequently  but  11  syllables  (v.  line  359). 


The  Rime.  xxi 

CHAPTER  IV. 

The  Rime. 

I.  End-rime: — The  rime  is  generally  pure  throughout.  Correct 
masculine  rimes  are  the  rule.  The  most  numerous  rime-endings  are 
-ace,  -ake,  -all,  -aunce,-  ay,  -e,  -ence,  -ent,  -ere,  -esse,  -y,  -yde,  -yght, 
-o,  -on,  -ore,  -ought,  -o\v,  -ure  {v.  Rime  Index). 

(a)  Identical  rimes  occur  in  a  number  of  cases.  By  identical 
rimes  I  mean  here  those  in  which  the  riming  syllables  coincide  in 
sound  throughout.  These  syllables  may  be  etymologically  different. 
Acorde  6:  monacorde  7;  malapert  503:  pert  504;  dyscharge  603: 
charge  605;  ouerse  772:  see  775;  take  1388,  1409:  vndyrtake  1390, 
141 1 ;  become  1406:  welcome  1407;  serue  1408:  deserue  1410;  goon 
1836:  ouergoon  1838;  before  1871:  therfore  1874;  hande  1912: 
hande  1914;  dyffuse  1955:  refuse  1957;  dyscorde  2015:  monacorde 
2016;  alone  923:  euerychone  924  (14  cases).  Identical  suffix-rimes :  (a) 
with  initial  consonant : — iugement  i39:auysment  140;  resystence  228: 
sentence  229;  satysfaccion  834:  dysposicion  836;  sadnes  1380:  glad- 
nes  1382;  royally  268:  sykerly  270;  herytykes  678:  scismatykes  679; 
pycture  15 14:  creature  15  16;  (b)  with  initial  vowel : — varyaunce 
244:  ordynaunce  245;  conuenyent  249:  expedyent  250;  precious 
790:  vyctoryous  791;  swerers  702:  morderers  704  etc.  (about  140 cases 
of  such  rimes  (b)  and  (a). 

(b)  Imperfect  rimes  "AXQ  occasional: — am  86:  man  88;  strong  260: 
hand  262;  came785:  man  787;  came  862:  than  864;  dooni2i7:  com 
1 2 18;  come  1336:  oblyuyone  1337;  came  1702;  woman  1704  (7  cases  of 
assonance^;  beste  1056:  lyste  1057  (v.  lyst  1297:  myst  1299);  neere 
1616:  desyre  161 7  (v.  desyre  1870:  wyre  1872,  —  cf.  Schick  Intro. 
Ixi);  bedde  2038:  vnderstande  2040;  crysmatory  1444:  sanctuary 
14^6;  probably  imperfect :^syt  191:  yet  193  (perhaps  =  yit  as  in 
Chaucer);  fete  566:  yete  567  (cf.  yet  193:  syt  191);  ende  1777: 
mynde  1778  (mynde  1923:  ende  1922:  spende  1920;  ende  1931: 
mende  1932;  but  cf.  mynde  1784:  behynde  1785). 

(c)  Feminine  rimes  OCQ.WX  in  the  following  instances  :—- obstacle 
9:  habytacle  11:  tryacle  12;  chases  58:  places  60:  manaces  61; 
philosophres  272:  cofres  273;  centre  769:  entre  770;  seuyn  821: 
heuyn  823:  steuyn  824;  euer  1203,  1974:  neuer  1204,  1973;  ?  reson 
1259:  seson  1260;  crysmatory  1444:  sanctuary  1446:  tary  1447; 
story  1 5 13:  memory  15 15;  fable  1686:  acceptable  1687;  ymages  1731: 
stages  1733:  passages  1734;  nother  1807:  brother  1809;  parable  1987: 


xxii  Rime  Index. 

fable  1988;  ?  compleynyd  48:  constreynyd  49  (cf.  herde  498:  con- 
queryd  5oo  =  masc.);  grauntyd  118,  874:  hauntyd  119,  875;  prorn- 
ysyd  482:  dyspysyd  483;  preuydyd  946:  guydyd  948;  aqueyntyd  1345: 
peyntyd  1347;  deuydyd  1765:  prouydyd  1767;  ?  declaryd  736:sparyd 
738;  Pretornyd  1119;  mornyd  1120;  ?e.\cusyd  1399:  dysvsyd 
1400;  probably :  —  requyreth  135:  expvreth  137:  desvreth  138  (but 
cf.  gooth  426:  wrooth427  =masc.);  sygnyfyeth  2010:  applveth  2012; 
chaungeth  2094:  estraungeth  2096. 

Doubtful  cases  are :  —  colowres32i:  shoures  322  (but  cf.  embas- 
satours  1016:  shoures  1018);  oonys  499:  boonys5oi:  noonys  502; 
goddys49i:  pesecoddys  493;  dreines  1854:  stremes  1855  (but  cf. 
astronomers  1696:  speres  1698:  yeres  1699;  laborers  911:  freres 
913);  the  final  e's  are  perhaps  pronounced  in  these  taords :  —  releue 
(inf.)  13:  sleue  (obi.  sng.)  14;  kep6  (inf.)  107:  depe  (adj.  pi.)  109: 
crepe  (inf.)  iio;  more  149:  store  (obi.  sng.)  151 :  sore  (adv.)  152; 
Saturne  279:  morne  (inf.)  280;  hede  (obi.  sng.)  286:  leede  (obi.  sng.) 
287;  corne  (obi.  sng.)  293:  home  (obi.  sng.)  294;  leue  (obi.  sng.) 
520:  for3'eue  (inf.)  522:  myscheue  (inf.)  523;  carre  (obi.  sng.)  554: 
marre  (inf.)  556;  wyde  (obi.  sng.)  664:  abyde  (inf.)  665;  herte  (obi. 
sng.)  1451:  aduerte  (inf.)  1453:  sterte  (inf.)  1454;  foole  (obi.  sng.) 
1658:  scoole  (obi.  sng.)  1659;  pylgremage  (obi.  sng.)  1779:  passage 
(obi.  sng.)  1781;  holde  1821:  olde  1823;  sonne  (obi.  sng.)  1896: 
tonne  (obi.  sng.)  1897. 

(d)  Medial  gh  (O.  E.  //),  already  weak  in  Chaucer,  has  ceased  to 
be  pronounced  in  the  cases  following,  and  probably  therefore  in  all 
cases: — about  261:  fought  263:  mought  264  (cf.  aboute  386:  route  388; 
mowte  760:  dowte  761;  abowte  ii24:showte  1122:  withowte  1125); 
ryght  489:  saf  condyght  490;  ipocrytes  701:  rvghtes  703;  sodomytes 
708:  svghtes  710;  cj'rcute  757:  myght  759;  trvpartyte  1031:  lyght 
1033:  wyght  1034;  syght  1037:  wyght  1039;  fyght  11 12:  meryt  11 13; 
bryght  1367:  whyte  1369:  myght  1370  (cf.  infynyte  1605:  myte  1607: 
whyte  160S;  myte  1814:  appetyte  1816);  myght  1801:  dvspyte  1803: 
lyte  1804. 

RIME   INDEX. 

A 
-able  1686,  1687;  1987,  1988. 
-ace   219,  221,  222;  300,  301;  316, 31S;  475,  476;  53S,  539;  1212,  1214;  1497;  1498; 

1758,  -as  1760;  1S26,  1827;  18S0,  -as  1S78,  1881,  2099,  2100.  See  -as. 
-acle  II,  12. 
-ad   345,  347,  348;  580,  581. 


Rime  Index.  xxiii 

-ade  69,  70;  1560,  1561. 

-adde  1415, 1417;  1875,  1876;  1982,  1984. 

-af£   2071,  2072. 

-aft   1 133,  1134- 

-age  1779,  1781;  1889,  1890;  1899,  1901,  1902;  1906,  1908,  1909. 

-ages  1731,  1733,  1734- 

-ak   366,  368,  369. 

-ake  2,  4,  5;  233,  235,  236;  608,  609;  722,  724;  1014,  1015;  1052,  1054,  1055; 

1220,  1222,  1223;  1388,  1390,  1391;  1409,  1411,  1412;  1420,  1421;  1457, 

1459;  1812, 1813;  1905, 1907;  1947, 1949;  2043,  2044. 
-ale   358,  360. 
-ales  685,  686. 
-all   114,  116,  117;  153,  154;  230,  231;  246,  248;  435,  437;  555,  557,  558;  776, 

777;  1007,  1008;  1072,  1074;  1226,  1228; 1443,  1445;  1504,  1505;  15S8,  1589; 

1597,  1599;  1612,  1614,  1615;  1707,  1708;  1819,  1820;  1898,  1900. 
-am   86,  -an  88,  89.  See  -an. 
-ame  132,  133;  589,  591;  713.714;  785, -an  787;  862, -an  864;  1238,  1239;  1702, 

-an  1704. 
-an   925,927;  1395,  1397,  139S;  1518,  1519.  See  -am, -ame 
-ane  2011,2013,2014. 

-and  262, -ong  260  ;  370,  371;  I177,  I179.  See  -ang. 
-ande  128,  130,  131;  1084,  io85;  1161,  1162;  1562,  1564;  1574,  i575;  1651,  1652; 

1912,  1914; 1959,  i960, 
-ape  524,  525;  1315,  1316. 
-ard  601,  602. 

-are   125,  126;  723,  725,  726;  807,  809,  810. 
-arge  85,  87;  545,  546;  603,  605;  1632,  1634. 
-arke  937,  938. 
-arpe  400,  402. 
-arre  554,  556. 
-art   876,  878;  1940,  1942. 
-ary  1446,  1447,  -cry  1444. 
-aryd  736,  738. 
-as   274,  276;  611,  613,  614;  1065,  1067;  1339,  -ase  1341,  1342;  1878, -ace  1880, 

1881.  See  -ase,  -ace. 
-ase   314,  315;  461,  462;  513,  515,  516;  632,  634,  635.  See  -as. 
-ases  58,  60,  61. 
-ast   72,  74,  75;  127,  129. 
-aste  1045,  1047,  1048. 

-ate   27,  28;  422,  424,  425;  1483,  1484;  1546,  1547;  1639,  1641, 
-ates  706,  707. 
-aught  1 23 1,  1232. 

-aunce  244,  245;  335,  336;  398,  399;  407,  409;  442,  444;  659,  661 ;  797,  798;  835. 
837,  838;  954,  956,  957;  989,  991,  992;  1094,  1096,  1097;  1147,  1 148;  1374, 
1376,  1377;  1430,  1432,  1433;  1450,  1452;  1507,  1509,  1510;  1598,  1600, 
1601;  1660,  1662;  1714,  1715;  1835,  1837;  2003,  2005;  2060,  2062,  2063. 
-aunge   1402,  1404,  1405. 
-aungeth  2094,  2096. 


xxiv  Rime  Index. 

-aunse   15,  17;  996,  998,  999. 

-aunt    883,  885;  1254,  1256;  1294,  1295. 

-auntyd  118,  I19;  874,875. 

-ause    134,  136. 

-aute    587,  588. 

-ay   29,  31;  282,  284,  285;  296,  298,  299;  548,  550,  551;  666,  668;  715,  717;  727,. 

728;  729,  731;  743,  745;  813,  815;  958,  959;  965,  966;  979,  980;  1028,  1029; 

1086,  1088;  1245,  1246;  1276,  1278,  1279;  1324,  1326;  1464,  1466;  1590, 

1592;  1661,  1663,  1664;  1828,  1830;  1968,  1970. 
-ayd  36,  38. 

-ayde  164,  -eyde  162;  207,  -eyde  205. 
-ayed  1998,  -eyde  1996. 
-ayes  692,  693. 

-ayll  615,  616;  751,  753,  754;  1219,  1221;  1969,  1971,  1972. 
-ayn  1567, 1568. 

-ayne  1668,  1670,  -eyne  1671.  See  -eyne. 
-awe  559,  560;  1227,  1229,  1230. 


!  (gen.  = -y)  121,  123,  124;  198,  200,  201;  253,255;  271,  -y  270;  457,  459, 
460;  492,  494,495;  519,  521;  552,  553;  617,  619;  650,  651;  772,  774,  775; 
804,  805;  811,  -ee  812;  828,  830,  831;  842,  844,  845;  919,  921,  922;  933, 
935,  936;  1002,  1004;  loio,  1012,  1013;  1080,  1082,  1083;  1105, -ee  1106; 
1261,  1263;  1280,  12S1;  1329,  1330;  1416,  1418,  1419;  1423, 
1425,  1426;  1700,  1701;  1800,  1802;  1868,  1869;  1926,  1928;  1945,  1946; 
1980,  19S1;  1994,  1995;  2017,  2019;  ?  2038,  2040;  2057,  2058;  2067,  2069, 
2070. 
!e   365,  367;  505,  507;  995,  997;  1 136,  1 138,  -e  1 139;  1961,  -e  1963. 

-eare   421,  -ere  423. 

-ecte       895,  896;   1847,  1848. 

i-ede     286, -cede  287;  569,571,572;  755,756;  832,833;   1000,1001;   1035,1036; 
1129,  1131,  1132;   1360,  1362,  1363;   1378,  1379. 
-cede  1023,  1025;  1583,  1585;   1815,  1817,  1818. 
-eet        1064,  -et  1063. 
-eft  562,  564,  555. 

J-elde    667,  669,  670;  932,  934;    1044,  1046;  1095,  1093-eelde. 
\-eelde  1093,  -elde  1095. 

(-ele     55,  56;  1026,  1027,  -eele  1024;  2068,  -eele  2066. 
C-eele   1024, -ele  1026,  1027;  1637,  1638;  2066, -ele  2068. 
-ell         30,  32,  33;  433,  434;  590,  592,  593;   1331,  1333;   1532,  1533. 
-erne       1609,  1610. 
-ernes     1854,  1855. 

-ence  44,  46,47;  76,  77;  79,  81,  82;  97,  98;  174,  175;  228.  229, -ense  226;  456 
458;  639,  641,  642;  645,  647;  814,816,817;  1135,  1137;  1163,1165;  1436, 
1438;  1490,  1491;  1611,  1613;  1863,  1865;  2001,  2002;  2025,  -ens  2027, 
2028;  2106,  2107.  See  -ens.  -ense. 
-ende  737,  739,  740;  1623,  1624;  1665,  1666;  1777, -ynde  1778;  1798, 1799;  1920, 
1922,  -ynde,  1923;    1931,    1932.     See  -ynde. 


Rime  Index.  xxv 

<-ene  982,  984,  985;  1198,  1200;  1584,  1586,  1587. 
(-eene  275,  -ene  277,  278;  2045,  2047. 

-ens   2027,  2028,  -ence  2025. 

-ense   226,  -ence  228,  229;  653,  655,  656;  1247,  1249.  See  -ence. 

-ent  23,  25,  26;  113,  115;  139,  140;  160,  161;  170,  172,  173;  247,  249,  250;  289, 
291,  292;  415,  417,  418;  449,  451;  741,  742;  792,  794;  827,  829;  1003,  1005, 
1006;  1092, -ente  1091;  1107,1109;  1140,1141;  1157,  1159,  1160;  1175, 
1176;  1304,  1306,  1307;  1427,  1428;  1465, 1467, 1468;  1553,  1554;  1674, 
1676;  1749,  1750;  1763,  1764;  1829,  1831,  1832;  1903,  1904;  2036,  2037. 

-entes  839,  840;  909,  910;  918,  920. 

-epe        107,  109,  no;  1255,  1257,  1258;  1296,  1298. 

-apt        510,  511;  944,  945;  1682,  1684,  1685. 

-er  71,  73;  163,  -ere  165,  -eere  166;  547,  549.  See  -eere. 

-erde      498,  -eryd  500;  625,  627,  628.  See  -eryd. 

ere  50,  52;  93,  95,  96;  155,  157;  183,  185;  197,  199;  323,  325;  394,396,397;  423, 
-eare  421;  443,  445,  446;  541,  543,  544;  748,  749;  806,  808;  884,  887,  -eere 
886;  888,  889;  960,  962;  1128,  1130;  1233,  1235;  1541,  1543;  1556,  1558, 
1559;  1602,  1603;  1626,1628,  1629;  1742,  1743;  1933,1935;  2004,2006, 
2007;  2029,  2030;  2081,  2083,  2084.  See  -eare. 
.-eere    166, -ere  165;  597,  599, -ere,  600;  1616, -yre  161 7;  1653,  -ere  1655.  See  -yre. 

-eeres    905,  -ers  907,  -eres  908. 

-ers  674,  676,  677;  680,  682;  681,  683,  684;  688,  690,  691;  695,  697,  698;  702, 
704,  705;  907,  -eeres  905,  -eres  908;  911,  -eres  913;  1696,  -eres  1698,  1699. 

-erse      405,  406. 

-ert  468,  469;  503,  504;  1 170,  1 172;  1266,  1267;  1591,  1593,  1594;  1786,  1788; 
1843,  1845,  1846, 

-erte   1451,  1453,  1454. 

-erue   1408,  1410. 

-eryd   500,  -erde  498. 

-es  391,  392;  881,  882;  902,  903;  1066.  1068,  1069;  1215,-esse  1213;  1380, 
1382;  1640,  1642,  1643. 

-ese   232,  234;  237,  238;  1752,  1754,  1755. 

-esse  8,  lO;  184,  186,  187;  240, 242,  243;  254,  256,  257;  303, 305,  306;  534, 536,  537; 
1059,  1061,  1062;  1213,-es  1215,  1216;  1262,  1264,  1265;  1385,  1386;  1492, 
1494;  1511,  1512;  1633,  1635,  1636;  1716,  1718;  1941,  1943,  1944. 

-eson   (or  on)  1259,  1260. 

-esshe  2080,  2082. 

-est   223,  224;  342,  343;  573,  574;  820,  822;  2032,  2034,  -este  2035. 

-este   478,  480,  481;  1056,  -yste  1057;  2035,  -est  2032,  2034.  See  -yste. 

-et  167,  168;  188,  189;  251,  252;  309,  311;  317.  319,  320;  337,  339;  384,  385; 
1063,  -eet  1064;  1154, 1155;  1184,  1186;  1654,  -ete  1656,  1657;  1675,  1677, 
1678;  1891,  1893.  See  -eet,  -ete. 

-ete  212,  214,  215;  239,  241;  344,  346;  419,  420;  527,  529,  530;  566.  567;  1030, 
1032;  1287,  1288;  1332,  1334,  1335;  1656,  1657,  -et  1654.  See-et. 

-ette   604,  606,  607;  1462,  1463. 

-ettys  1695,  -etys  1697.  See  -etys. 

-etys   1697,  -ettys  1695.  See  -ettys. 

-eue   13,  14;  429,  431,  432;  520,  522,  523;  1679,  1680;  2031,  2033. 


xxvi  Rime  Index. 

-euer     (or  er)  1203,  1204;  1973,  1974. 

-euyn     821,  823,  824. 

-ew    582,  584;  961,  963,  964;  1070,  1071;  1123,  -u  1121; 1364,  136S;  1373, 1375; 

1506,  1508;  2046,  2048, 2049.  See -u. 
-ewes  699,  700. 
-ewre  930,  -ure  931. 
-ey    156, -ay  158,  159;  378, -y  377  ;  623,  -y622;  873, -y  872,  870;  Il88,-y 

1 187,  1 185;  1630,  -y  1631;  1728,  -y  1729;  1856,  1858.  See  -y. 
-eyde  162,  -ayde  164;  205,  -ayde  207,  208;  596,  598;  1996,  -ayed  1998.  See 

-ayde,  -ayed. 
-eyn   62,  63;  146,  147;  176,  178;  561,  563;  744,  746,  747;  1359,  1361. 
-eyne  37,  39,  40;  iii,  112;  610,  -eygne  612;  1156,  1158;  1581,  1582;  1671,-ayne, 

1670;  1808,  1810,  181 1;  1966,  1967;  2085,  20S6.  See-ayne. 
-eyngth  967,  969. 

-eynt   78,  80;  258,  259;  359,  361,  362;  1644,  -eynte  1645;  1793,  1795. 
-eynte  1645, -eynt  1644. 
-eyntyd  1345,  1347. 
-eynyd  48,  49. 
-ext    1502,  -exte  1500. 
-exte   1502,  -ext  1502. 

Y,  I,  (E). 

-y    34,  35;  104.  105;  148,  150;  202,  203;  26S,  270,  -e  271;  281,  283;  302,  304; 

330,  332;  377,  -ey  378;  380,  382,  383;  401,  403,  404;  450,  452,  453;  463,  465; 

485,  487,  488;  594,  I  595;  622,  -ey623;  629,  630;  638,  640;  646,  648,  649; 

652,  654;  657,  658;  660,  662,  663;  765,  767,  768;  800,  802,  803;  841,  843; 

846,847;  848,850;  853,854;  855,  857;  867,  868;  869,  871;  870,  872, -ey  873; 

975,977,978;  1009,  loii;  1021,  1022;  1073,  1075,  1076;  1171,1173,  1174; 

1 185,  1 187, -ey  1 188;  1189,  1190;  1289,  1291;  1346,  1348,  I  1349;  1458, 

1460,  1461;  1485,  i486;  1493,  1495,  I  1496;  1513,  1515;  1534,  1536;  1549, 

1551, 1552;  1570,  1572,  1573;  1631,  -ey  1630;  1689,  1691,  1692;  1717,  1719, 

-uy  1720;  1729,-ey  1728;  1787,  1789,  1790;  1822,  1825,  I  1824;  1840,  1841; 

1989,  1991;  2039,  2041,  2042;  2064,  I  2065;  2095,  2097,  2098;  2102,  2104, 

2105.  See  -e,  -ey,  -uy. 
-yce   825,  -vse  826;  863,  -3-se  865,  866.  See  -yse. 
-yde   216,  217;  288,  290;  324,  326,  327;  331,  333,  334;  349,  350;  470,  472;  624, 

626;  664,  665;  716,  718,  719;  793,  795,  796;  891,  893,  894;  926,  928,  929; 

940,  942,  943;  981,  983;  1283,  1285,  12S6;  1499,  1501;  1525,  1526;  1555, 

1557. 
-ydyd  946,  -uydyd  948;  1765,  1767.  See  -iiydyd. 
-yeth   2010,  2012. 
-yght  373,  375,  376;  4S9,  490;  750,  752;  759,  -ute  757;  778,  780;  972,  973;  986, 

987:993,994;  1033,  1034,-yle  1031;  1037,  1039;  Iii2,-yt  1113;  1199,1201, 

1202;  1367,  1370,  -yte  1369;  1381,  1383,  1384;  1392,  1393;  1471,  1473; 

1476,  1477;  1801,  -yte  1803,  1804;  2078,  2079.  See  -yt,  -yte,  -ute. 
-yghtes,  710,  -ytes  7o8."See-ytes. 
-ygne  1224,  -yne  1225;  1441,  1442.  See  -yne. 
-yk    856,  858,  859. 


Rime  Index.  xxvii 

-ykes  678,  679. 

-yll  120,  122;  575,  577;  916,  917;  105S,  1060;  1079,  loSi;  1990,  1992,  1993. 

-yme  953,  955. 

-yn  1049,  1050;  1857,  1859,  i860. 

-ynde  64,  66;  393,  395;  512,  514;  631,  (^il\   I343,  I344;  1387,  1389;  1542,  1544, 

1545;  1647,  1649,  1650;  1756,  1757;  1778,  -ende  1777;  1784,  17S5;  1923, 

-ende  1922.  See  -ende. 

-yne  265,  266;  372,  374;  1225,  -ygne  1224;  2018,  2020,  2021. 

-yng  267,  269;  1366,  1368;  1528,  1530,  1531;  1535,  1537,  1538;  1618,  1620. 

-ynges  687,  689. 

-ynke  2052,  2054. 

-ynne  947,  949,  950; 1997,  1999,  2000. 

-yre  1617,  -eere  1616;  1S70,  1872.  See  -eere. 

-yreth  135,  137,  138. 

-ys  106,  108;  877,  879,  880;  1310,  1312. 

-yse  16,  18,  19;  225,  227;  447,  448;  568,  570;  826,  -yce  825;  865,  -yce  863;  11 15, 

1117,  II18;  1352,  1354;  1780,  1782,  1783;  1962,  1964,  1965.  See  -vce. 

-yst  1297,  1299,  1300. 

-yste  1057,  -este  1056. 

-ysyd  482,  483. 

-yt  191,  -et  193,  -yte  194;  11 13,  -yght,  11 12.    See  -et.  -vte,  -yght. 

-yte  211,213;  1031,-vght  1033,1034;  1369, -yght  1370;  1605,  1607,  1608; 1803, 

-yght  1 801;  1814,  18 1 6.  See  -yght. 

-ytes  701,  703;  708,  -yghtes  710. 

-yue  517,  518;  939,  941;  1849,  1851. 

-yues  20,  21. 

O 

-o  22,  24;  41,  42;  51,  53,  54;  142,  144,  145;  169,  171;   195,  196;  218,  220;  295, 

297;  471,  473,  474;  496,  497;  1210,  1211;  1248,  1250,  1251;  1322,  1323; 

1353,  1355.  1356;  1527,  1529;  1539,  1540;  1563,  -00  1565,  1566. 
-00    41,  -o  42;  92,  94;  1565,  -o  1563. 

-ood   307,  308; I126,  II27;  1311, 1313,  1314;  1422, 1424;  1569,  1571. 
-code  540,  542;  799,  801;  1038,  1040,  1041. 
-oddys  491,  493. 
-oft    99,  lOI. 

-00k   II42,  1144;  1455,  1456;  1724.  1726,  1727. 
oke  181,  182. 

■ooke  1303,  1305;  1S85,  1S87,  1SS8. 
-olde   387,389,390;  428,430;  1766,1768,  1769;  1821,  1823;  1934,  1936,  1937; 

1983,  1985,  1986;  2059,  2061;  2073,  2075. 
-cole   1394,  1396;  1658,  1659;  1952,  1953. 
-ome   190,  192;  1336,  -one  1337;  1406,  1407.  See  -one. 
-on   43,  45;  90,  91;  636,  637;  643,  644;  834,  836;  849,  851,  852;  974,976;  988, 

990;  iio3,-o\vne  iioi;  1108,  mo,  mi;  1 143,  11 45,  1146;  11 78,  11 80, -own 

1181;  1205, 1207;  1301, 1302;  1413, 1414;  1429,  1431;  1619,  1621,  1622; 

1646,  1648;  1681,  1683;  1721,  1722;  1737,  1739;  1744,  1746;  1751,  1753; 

1772,  1774;  1833,  1834;  1842,  1844;  1864,  1866,  1867;  1910,  1911;  1913, 


Rime  Index. 


-oun 

-ound 

-ounde 


-ous 
-out 


-oute 


1915,  1916;  1919,  1921;  1975,  1977;  2008,  2009;  2022,  2023;  2053,  2055, 

2056;  2101,  2003.  See  -eson,  -own. 

440,  441;  1217-om  1218;  1667,  -on  1669;  1759,  1761,  1762;  1S05,  1806;  1S36, 

1838,  -on  1839.  See  -om,  -on. 

1712, -ounde  1710;  1735,  -ounde  1736.  See  -ounde. 

720,  721;  779,  781,  782;  923,  924;  1337, -ome  1336;  1745,  1747,  1748;  1839. 

-oon  1838.  See  -ome. 

730, 732,  733;  1269,  1271,  1272. 

I,  3;  1896,  1897. 

499,  501,  502. 

272,  273. 

6,  7;  1252,  1253;  1434,  1435;  2015,  2016. 

1240,  1242. 

149,  151,  152;  338,  340,  341;  771,  773;  968,  970,  971;  130S,  1309:  1472,  1474. 

1475; 1604,  1606;  1794,  1797,  -oore  1796;  1871, 1873,  1874;  i8q2, 1894,  1895. 

1791,-ore  1792;  2074,  2076,  2077. 

673,  675- 

818,  819. 

280,  -urne  279;  293,  294.  See  -urne. 

1119,  1120. 

65,  67,  68;  204,  206;  531,  532:  671,  672. 

1 150,  1 152,  1 153;  i486,  1488,  1489. 

1444,  -ary  1446,  1447.  See  -ary. 

1576,  1578. 

1595,  1596- 

764,  766;  783,  784;  951,  952;  1 192,  -ost  1 194,  1 195. 

620,  621,  -ote  618;  1350,  1351. 

2092,  2093. 

426,  427;  1338, 1340. 

1S07,  1809. 

141,  143;  209,  210;  263,  264,  -out  261;  412,  413;  526,  528;  786,  788, 

789;  I05I,  1053;  1 196,  1 197;  1234,  1236,  1237;  1478,  1480;  1625,  1627; 

1672,  1673;  1882,  1883;  2050,  2051. 

20S7,  2089. 

506,  -ownd  508,  509;  533,  535;  1042,  1043;  1521, 1523,  1524. 

1690, -ownde  1688;  1709,  171 1;  17IO, -onde  1712,  1713;  1736, -onde  1735 

See  -onde,  -ownde. 

464,  466,  467;  576,  578,  579;  734,  735;  1078, -owre  1077;  1100,1102;  1206 

1208,  1209;  1290,  1292,  1293;  1850,  -oure  1852,  1853.  See  -owre. 

709,  711,  712;  897,  899;  904,  906;  912,  -oures  914,  915;  1016,  -oures  1018; 

1 182,  1 183;  1357,  1358;  1577,  1578,  1580. 

322,  -owres  321;  694,  696;  914,  -ours  912;  1018,  -ours  1 01 6.  See  -ours, 

-owres. 

408,  410,  411;  790,  791;  898,  900,  901. 

261, -ought  263,  264;  436,  438,  439;  1437, -owte  1439.  1440;  1479,1481, 

1482;  1930,  -oute  1929.  See  -ought, -owte. 

310,  312,  313;  386,  388;  758, -owte  760,  761;  1017.  1019,  1020;  1273,  1274; 

1927,  1929,  1930.  See  -owte. 


AUiteratioti.  xxix 

-ow  762,  763;  1149,  1151;  1164,  1166,  1167;  1191,  1 193;  1 24 1, -owe  1243, 
1244;  1317,  1319;  1371,  1372;  1401,  1403;  1954,  1956;  2024,  2026. 

-owe   484,  486;  1243,  -ow  1 24 1.  See  -ow. 

-own   1 181,  -on  1 180. 

-ownd  508,  -ound  506.  See  -ound. 

-ownde  1688,  -ounde  1689.  See  -ounde. 

-owne  379,  381;  iioi,-on  1103,  1104.  See -on. 

-owre  1077,  -our  1078.  See  -our. 

-owres  321,  -oures  322.  See  -cures. 

-owte  760,  -oute  758;  1087,  1089,  1090;  1122,  1124,  1125;  1318,  1320,  1321; 
1439,  -out  1437;  1861,  1862;  1924,  1925;  1948,  1950,  1951;  1976,  1978, 
1979. 

U 

-u     1121, -ew  1123.  See -ew. 

-ude   890,  892;  1703,  1705,  1706, 

-are  57,  59;  83,  84;  100,  102,  103;  363,  364;  414,  416;  454,  455;  477,  479;  860, 
861;  931,  -ewre  930;  1268,  1270;  1325,  1327,  1328;  1448,  1449;  1514,  1516, 
1517;  1520,  1522;  1693,  1694;  1723.  1725;  1770,  1771;  1773,  1775,  1776; 
1877, 1879;  1884,  1886;  2088,  2090,  2091.  See  -ewre. 

-urre   328,  329. 

-urne   279,  -orne  280. 

-us    177,  179,  180;  1168,  1169;  1469,  1470;  1938,  1939. 

-use   1917, 1918;  1955,  1957,  1958. 

-ust    1098,  1099;  1275,  1277. 

-usyd   1390, 1400. 

-ute   757  -yght  759.  See  -yght. 

-uy    1720,  -y  1 7 19. 

— uydyd  948,  -ydyd  946. 

2.  Alliteration  is  a  marked  feature  of  the  verse.  As  is  well  known, 
the  usage  of  combining  alliteration  and  end-rime,  which  became 
conspicuous  in  western  and  northern  England  about  the  middle  of 
the  fourteenth  century,  grew  in  favor  through  the  fourteenth  and 
fifteenth  centuries,  reaching  its  highest  popularity  in  Scotland 
during  the  second  half  of  the  fifteenth  century  (v.  Scottish  A/lit. 
Poems,  ed.  by  Amours  in  Scot.  Text  Soc).  The  alliterative  phrases 
record,  clearly  enough,  the  influence  of  the  Old-English  method  of 
verse.  In  this  poem  alliteration  occurs  chiefly  in  formal  phrases,  as 
an  ornament  of  the  verse,  rarely  having  any  constructive  significance. 
Lydgate  followed  no  fixed  method,  though  of  course  accent  most 
often  determines  the  phrase.  For  Chaucer's  usage  consult  Ten 
Brink,  Ch.  Sp.  p.  196,  et.  seq.,  and  The  Alliteration  of  Chaucer,  a 
thesis  by  Dr.  C.  F.  McClumpha  (Univ.  of  Minn.).  I  cite  a  few 
of  the   most   notable  instances  : 


XXX  The  Rime  a/id  iJie  Final  e. 

4:  5yttyng  all  ralytary  a/one  ben-de  a  /ake.  5:  wusvng  on  a  waner  how  that 
I  wyght  wake.  13:  so  /eyde  1  me  a'owne  my  t/yssese  to  re/eue.  35:  ys  in  a  lytyll 
corner  (Tallyd  Fantasy.  66:  roote  and  rynde.  127:  (^oystous  ^last.  26i:/lameof 
/yre.  270:  full  .fad  and  wyse  he  5emyd  .fykerly.  303:  worldly  «'vsdom.  320:  hyr 
^owne  was  of  g-awdy  ^'^rene  chamelet.  345:  in  airas  <rlad.  354:  dad  in  clustres. 
372:  colour  m'stallyne.  379:  copyr  crowne.  382:  ^eames  M'ght.  425:  ^/euyll's 
(fate.  487:  obole  nor  (/estyny.  501:  (Joody,  (^lood  and /^oonys.  557:  walewyng  with 
hys  wawes.  556:  wake  and  warre.  631:  jlowthe  so  .ylepy.  673:  Fosters,  ^raggars 
and  (^rybores.  675:  jhamefull  Aakerles,  joleyn  .fhaueldores.  684:  walycious  wur- 
murers.  688:  robbers,  reuers,  rauenouse  ;^'felers.  690:  warrers  of  waters  and 
woney  wakers.  806:  roody  as  a  roose.  848:  refuse  of  r3'chesse.  899:  /erpetuell 
;*restes.  902: /ysshers  of /owles.  907:  on/eynfull /oore  /yteous  com/assioners. 
gi2:  hoo\y  //eremytes.  913:  wonasteriall  wonkes.  996:  f/^aunger  of  the  c/zaunse. 
1 166:  /eyne /erpetuell.  1362:  wylde  Tfantones  wede.  1603:  coloryd  <rrvstall  clere. 
1743: /eynyd/ables.  1886:  ^/aryng  as  a  (/astard.  2071-2:  Try  out  the  irorne  dene 
from  the  chaff  And  then  may  ye  .ray  ye  have  a  jure  Jtaff. 


C?l AFTER   V. 
The  Rime  and  the  Final  c. 

See  Paul's  Grund.  II.  p.  1034,  sec.  24. — The  language  and  metre 
of  the  poem  seem  to  be  in  such  confusion  that  evidence  either  for 
or  against  the  pronunciation  of  the  final  e  is  rarelv  conclusive.  So 
far  as  I  am  able  to  judge  from  a  study  of  the  metre  and  of  the  rim- 
ing words  the  final  e  is  quite  generally  mute.  Double  forms  were 
evidently  permissible,  especially  in  words  of  Old-English  origin. 
Still  the  riming  words  show  a  very  considerable  loss  of  the  final  e, 
and  a  consequent  change  in  poetic  phraseology,  as  compared  with  the 
Chorl  and  Bird  ■A.wiS.  the  Temple  of  Glas,  which  conform  much  more 
closely  to  the  phraseology  of  Chaucer.  On  this  latter  evidence  I 
should  argue  for  the  later  date  of  the  Assembly  of  Gods.  For  while 
a  skillful  copyist,  by  the  addition  of  monosyllabic  words,  might 
make  the  measure  run  without  the  e\,  he  would  not  change  the  rim- 
ing words  themselves. 

I.  A  study  of  the  common  riming  words  from  Chaucer  to 
Spenser  will  illusti-ate  the  changes  in  operation  during  the  fifteenth 
century  which  affected  the  final  e  sound.  It  will  be  observed  that 
the  adverbial  suffix  -ly  (O.  E.  lie),  which  in  Chaucer'  and  contempor- 
ary works  rimed  onlv  with  itself,  -y  or  the  pronoun  I,  rimes  in  Lvd- 

'The  Romaunt  has  cases  of  -y  and  -ye  rime;  but  the  date  of  the  MS.  is  late, 
c.  1450  (Skeat). 


The  Rime  ami  tlie  Finai  e.  xxxi 

g2iX€'%Assembiy  of  Gods,  King  James'  Qiiair  and  in  other  poems  suc- 
ceeding these,  with  endings  of  Romance  nouns  such  as  company 
(O.  F.  companie,  M.  L.  compania),  melody  (O.  F.  melodic,  L.  L. 
melodia,  Gk.  /xcAwSta),  etc.,  and  of  infinitives  as  testify,  multiply,  spy, 
etc.  The  usage  of  riming  the  ending  -y  and  -ye  became  customary 
before  the  middle  of  the  fifteenth  century.  Chaucer  rimes  regu- 
larly -ye  with  -ye.  Thus  companye  rimes  with  maystrie,  ielousye, 
hye,  espye,  envye,  hostelrie,  dayesye,  etc.;  ielousye  with  maystrie, 
folye,  espye,  maladye,  etc.  So  -ly  rimes  regularly  with  itself,  -y 
or  I.  Thus  I  rimes  with  properly,  utterly,  verraily,  trewely,  wik- 
kedly,  boldely,  certeynly,  bv ;  utterly  rimes  with  trewely,  esely, 
sikerly  ;  why  rimes  with  casually.  Chaucer  has  no  exception  to  these 
rules. 

Gower  in  his  Confessio  A»ianiis  (1386- 1393),  Hoccleve  in  his 
Minor  Poems  (c.  1425)  have  Chaucer's  usage  verv  strictly.  I  find 
no  instance  in  Lydgate's  Tempie  of  Gias  (c.  1403)  of  the  -y  -ye  rime. 
In  the  Assembly  of  Gods,  however,  the  rule  is  no  longer  maintained. 
Thus  company  rimes  with  pleasauntly  38o,feruently  382,  melody  401, 
ly  404,  chyualry  463,  by  663,  Apostasy  977,  vyctory  1190,  Sodechy 
1549,  Sophony  1551.  Ey  rimes  with  enuy  622,  Pawmestry  870, 
deny  872,  fly  1185,  sodenly  1187,  foly  1631,  generally  1729.  Hy 
rimes  with  testyfy  104,  thereby  1461,  certeynly  1495,  I  1496,  glory- 
osly  1572,  by  1570,  naturally  1691,  glory  1841,  magnyfy  2102, 
Mary  2105.  Multyply  rimes  with  indyfferency  846,  deyfy  1719. 
Comonly  rimes  with  Fantasy  35.  Curtesy  rimes  with  innocency  841. 
Memory  rimes  with  glory  848,  story  15 13.  Victory  rimes  with 
party  1009,  glory  1789,  occupy  1787.  Spy  rimes  with  pryuyly  io2i» 
cry  with  sodeynly  1075  and  myghtyly  1073;  stody  with  espy  1989; 
occupy  with  testyfy  452  and  deny  453. 

In  Lydgate  and  Burgh's  Secrees  (c.  1446)  the  latter  usage  obtains. 
The  final  e  is  there  rarely  sounded  (Steele,  Intro,  to  Sec.  p.  xx.  §  xvil.). 
Applye  rimes  with  partye  15 16,  fantasye  303.  Victorye  rimes  with 
pryncipally  2181,  prudently  2182,  hastely  2445,  remedy  2448. 
Remedy  rimes  with  hevyly  1 735,  specially  2008.  Hastily  rimes  with 
denye  1846.  Partye  rimes  with  streyghtlye  2 131.  Mallady  rimes 
with  specially  1700;  foly  with  discretly  2281,  angry  2652  ;  leccherye 
with  fynally  2503  and  velony  2504. 

The  change  had  already  been  accomplished  in  the  Qiiair  (1423) 
of  King  James  I.,  who  rimed  armory  with  contynually,  ielousye  with 
melancholye  and  quhy  (N.  E.  why),  philosophye  with  properly,  partye 


XXX  ii  The  Rime  a /id  the  Fi>ml  e. 

with  I,  quhy  with  companye,  ielousye,  folve,  onelv,  I  with  humility, 
gye,  supplye,  etc. 

In  the  Pastifne  of  Pleasure  {c.  1506),  the  work  of  Stephen  Hawes, 
the  pupil  of  Lydgate,  and  in  Spenser's  poems  and  in  other  sixteenth 
century  works,  the  new  usage  is  completely  established.  The  period 
of  transition  would  seem  to  be  from  about  1415  to  1450.  Lydgate's 
own  works  exhibit  the  change,  and  very  likely  his  poems  can  be 
approximately  dated  by  reference  to  his  treatment  of  this  -y  rime. 

2.  The  infinitives  among  the  riming  words  present  the  phenomena 
given  in  the  following  word  list.  The  inflectional  ending  has  dis- 
appeared in  most  cases.  It  is  maintained  somewhat  in  verbs  of  English 
origin  but  is  almost  completely  lost  in  verbs  of  Romance  origin.  I 
use  etc  indicate  the  conjectural  pronunciation  of  the  infinitive  end- 
ing. In  the  table  the  first  word  in  each  series  is  the  infinitive, 
which   is  followed  by  the  words  with  which  it  rimes  : 

(a)   Of  Teutonic  Origin. 

abyde:  wyde  664:  tvde  718:  ryde  (inf.)  719:  pryde  (obi.  sng.)  928:  syde  (obi.  sng.) 

929:  gyde  (inf.)  793:  hyde  (inf.)  894. 
aryse:  iustyse  (obi.  sng.)  18:  sylogyse  (inf.)  19. 
astert:  hert  (obi.  sng.)  468. 
awake:  take  (inf.)  1015:  shake  (inf.)  2044. 
be:  perplexyte  (obi.  sng.)  200:  se  (inf.)  201:  me  255:  pyte  (obi,  sng.)  921:  vnyte 

(obi.  sng.)  919. 
beware:  care  (obi.  sng.)  126. 
blyn:  syn  (inf.)  1857:  wyn  (inf.)  1859. 
borow:  sorow  1166:  folow  (inf.)  1164. 
bow:  how  2026. 
call:  fall  1008:  wall  1898. 
crepe:  depe  (obi.  pi.)  109:  kepe  (inf.)  107. 
deele:  wele  (obi.  sng.)  2068. 
do:  so  144:  to  145. 
dwell:  tell  (inf.)  5S5:  rebel!  583. 
fall:  shall  231:  all  246. 
fare:  care  (obi.  sng.)  809:  bare  807. 
feele:  yele  1026:  dele  (obi.  sng.)  1027. 
fet:  banket  (obi.  sng.)  167:  met  1154:  get  1678. 
fly:  sodenly  1187:  ey  (obi.  sng.)  1188. 
folow:  sorow  1 166:  borow  (inf.)  1167. 
forsake:  take  (inf.)  1052:  make  (inf.)  1055. 
forvete:  entrete  (inf.)  241. 

foryeue:  leue  (obi.  sng.)  520:  myscheue  (inf.)  523. 
fulfyll:  wyll  (obi.  sng.)  575. 
fyght:  myght  993. 
fyndii:  rynde  (obi.  sng.)  66:  behynde  514. 


The  Rime  and  the  Final  e.  xxxiii 

gete:  conterfete  (inf.)  212:  entrete  (inf.)  214:  whete  1334. 

go:  fro  24. 

here:  fere  (obi.  sng.)  52  (nere  396:  Omere  397):  daungere  (obi.  sng.)  96:  prysonere 

93:  apere  157:  plesere  197:  offycere  (obi,  sng.)  446. 
hy:  redely  767:  ny  768. 

hyde:  syde  (obi.  sng.)  891:  abyde  (inf.)  893. 

kepe:  depe  (obi.  pi.)  109:  crepe  (inf.)  no:  wepe  (inf.)  1257:  slepe  (inf.)  1258. 
lere:  geere  (obi.  sng.)  886:  were  884. 
lowte:  rowte  (obi.  sng.)  1087:  dowte  1090:  abowte'  1924. 
Iv:  company  403:  melody  (obi.  sng.)  401:  Pyromancy  869. 
make:  lake  (obi.  sng.)  4:  take  (inf.)  2. 
marke:  parke  (obi.  sng.)  938. 
mete:  shete  (obi.  sng.)  420. 
morne:  Saturne  279. 
mys:  wys  879:  thys  877. 
nede:  spede  (inf.)  571:  dede  (obi.  sng.)  572. 
Guerse:  meyne  (obi.  sng.)  774:  see  (inf.)  775. 
ryde:  wvde  626:  tyde  718:  abyde  (inf.)  716. 
say:  day  1830:  deley  (obi.  sng.)  1858. 
se:  perplexyte  (obi.  sng.)  200:  be  (inf.)  198:  meyne  774:  ambyguyte  1012:   lyberte 

1013:  benygnyte  1426. 
shake:  awake  (inf.)  2043. 
slepe:  wepe  (inf.)  1257:  kepe  (inf.)  1255. 
spede:  nede  (inf.)  569:  dede  (obi.  sng.)  572. 
steuyn:  heuyn  (obi.  sng.)  823:  seuyn  821. 
syn:  wvn  (inf.)  1859:  blyn  (inf.)  i860, 
syt:  yet  193:  abyte  194. 

take:  lake  (obi.  sng.)  4:  make  (inf.)  5:  awake  (inf.)  1014:  forsake  (inf.)  1054. 
tell:  dwell  32:  hell  (obi.  sng.)  33:  fell  (obi.  pi.)  434:  rebell  583. 
wepe:  kepe  (inf.)  1255:  slepe  (inf.)  1258. 
Wynne:    ynne  949:    synne  950:   syn  (inf.)  1857:  blyn   (inf.)   i860:  thynne    1997: 

theryn  1050. 
wythstande:  hande  (obi.  sng.)  1084. 

(b)    Of  Romance  Origin. 

acorde:  monacorde  (obi.  sng.)  7. 

apele:  wele  (obi.  sng.)  56. 

appere:  herbere  (obi.  sng.)  1935:  fere  (obi.  sng.)  2006:  here  (inf.)  2004. 

asaute:  defaute  (obi.  sng.)  587. 

asay:  day  979:  may  1278:  nay  1276. 

assent:  content  172:  iugement  (obi.  sng.)  170. 

auale:  pale  (obi.  sng.)  358. 

auaunce:  puruyaunce  956:  daunce  (obi.  sng.)  957. 

auowe:  bowe  (inf.)  486. 

carpe:  harpe  (obi.  sng.)  400. 

cese:  dyscrese  (inf.)  232:  doutlese  1754:  prese  (obi.  sng.)  1755. 

chastyse:  dispyse  (inf.)  448. 

compleyn:  Iweyn  (obi.  pi.)  146. 


xxxiv  The  Rime  and  the  Fitial  e. 

conclude:  multitude  S90. 

confound:  drownd  508:  fownd  509. 

counterfete:  entrete  (inf.)  214:  gete  (inf.)  215. 

cry:  sodeynly  1075:  myghtyly  1073. 

daunce:  penaunce  (obi.  sng.)  1148. 

deny:  testify  (inf.)  452:  occupy  (inf.)  450:  Pawmestry  S70:  ey  (obi.  sng.)  873. 

depart:  cart  (obi.  sng.)  878. 

depryue:  lyue  518. 

dereygne:  cheyne  (obi.  sng.)  610. 

deyfy:  multyply  1717:  guy  (inf.)  1720. 

dyscrese:  cese  (inf.)  234. 

dyspyse:  chastyse  (inf.)  447. 

dysuse:  muse  (inf.)  19 17. 

endure:  mesure  (obi.  sng.)   102:  nature   (obi.  sng.)  100:  creature  (obi.  sng.)  2088: 

sure  2091. 
enhaunse:  remembraunse  998:  chaunse  (obi.  sng.)  996. 
enlumyne:  discyplyne  (obi.  sng.)  2018:  Doctryne  2021. 
entrete:  counterfete  (inf.)   212:    gete  (inf.)  215:     foryete  239:   banket  1654:  gete 

(obi.  sng.)  1657. 
escape:  iape  (obi.  sng.)  525. 
eschew:  Vertew  (obi.  sng.)  963:  sew  (inf.)  964. 
espy:  stody  (obi.  sng.)  199 1, 
exorte:  reporte  i486:  sorte  1489. 
fade:  shade  (obi.  sng.)  69. 
greue:  leue  (obi.  sng.)  429:  meue  (inf.)  431. 
gyde:  tyde  795:  abyde  (inf.)  796. 
magnyfy:  hy  2104:  Mary  2105. 
menteyn:  peyn  746:  ageyn  744. 

meue:  leue  (obi.  sng.)  429:  greue  (inf.)  432:  sleue  (obi.  sng.)  2033. 
multyply:  guy  (inf.)  1720:  deyfy  (inf.)  1719. 
muse:  disvse  (inf.)  1918. 

myscheue:  leue  (obi.  sng.)  520:  foryeue  (inf.)  522. 

occupy:  testyfy  (inf.)452:  deny  (inf.)  453:  hy(obl.sng.)  I173:  vyctory  (obl.sng.)  1174 
oppresse:  heuynesse  10:  neuerthelesse  1059:  duresse  (obi.  sng.)  1062. 
peruert:  hert  1786:  desert  (obi.  sng.)  1843:  smert  1845. 
promyse:  wyse  (obi.  sng.)  225. 
rebell:  tell  592:  well  593. 
recompense:  audyence  (olil.  sng.)  1249. 
refuse:  diffuse  1955:  vse  (inf.)  1958. 
reherse:  werse  405. 
releue:  sleue  (obi.  sng.)  14. 
repent:  went  417:  inconuenyent  (obl.sng.)  415. 
resorte:  comforte  (obi.  sng.)  1 152:  porte  (obl.sng.)  1153. 
sew:  Vertew  (obi.  sng.)  963:  eschew  (inf.)  961. 
sylogvse:  iustyse  (obi.  sng.)  18:  aryse  (inf.)  16. 
tary:  sanctuary  1446:  crysmatory  1444. 
testyfy:  hy  105:  occupy  (inf.)  450:  deny  (inf.)  453. 
vse:  diffuse  1955:  refuse  (inf.)  1957. 


The  La>igiiage.  xxxv 

CHAPTER  VI. 

The    Language. 

A.  Vocabulary - 

The  modern  character  of  Lydgate's  language  has  often  been 
remarked.  Warton  long  ago  gave  his  judgment  to  the  effect 
"that  Lydgate  made  considerable  additions  to  those  amplifications 
of  our  language  in  which  Chaucer,  Gowerand  Occleve  led  the  way; 
and  that  he  is  the  first  of  our  writers  whose  style  is  clothed  with 
that  perspicuity  in  which  the  English  phraseology  appears  at  this 
day  to  an  English  reader"  {Hist,  of  Eng.  Poet.,  II.,  270).  The 
influence  of  French  and  Latin  is  more  apparent  in  his  vocabulary 
than  in  that  of  any  other  East  Midland  writer  (v.  Diet.  Natl.  Biog., 
XXXIV.,  p.  310  ;  Skeat  Frin.  Engl.  Ety.,  II.,  ch.  viii).  The  Assem- 
bly of  Gods  is  especially  rich  in  words  of  Romance  origin,  and,  as 
compared  with  contemporary  writings,  in  words  of  recent  adoption 
from  the  French.  The  poem  is  therefore  especially  helpful  in 
tracing  the  gradual  assimilation  of  foreign  words  into  the  language. 
In  the  Prolog  to  the  Canterbury  Tales  in  303  words  in  the  first  42 
lines,  Chaucer  used  263  native  English  words,  leaving  13  per  cent. 
of  foreign  words.  In  84  lines  of  the  Assembly  of  Gods,  of  669 
words,  the  total  number  employed,  153,  or  nearly  2t, per  cent.,  are 
foreign;  of  the  305  different  words  used  in  the  same  lines,  107  are 
of  foreign  origin.  As  Lydgate  was  popular  long  in  the  reign  of 
Elizabeth,  his  service  in  naturalizing  the  foreign  vocabulary  was 
considerable.  It  will  be  seen  that  the  number  of  obsolete  words  is 
comparatively  small,  the  proportion  of  such  words  being  less  than 
in  Chaucer  or  Wyclif  or  Pecock  (Lee,  Diet.  Natl.  Biog.). 

B.  Grammar. 

Lydgate's  grammar  has  been  well  treated  by  Dr.  Schick  in  his 
Introduction  to  the  Temple  of  Glas  (chap.  vi.  p.  Ixiii).  This  MS., 
being  of  a  late  date,  can  aid  but  little  in  the  construction  of  Lyd- 
gate's own  speech.  In  the  main,  it  is  probable  that  Lydgate's 
phonological  and  inflexional  system  did  not  differ  much  from  that 
of  Chaucer.  There  was,  however,  in  the  case  of  Lydgate  a  much 
less  certain  use  of  inflexional  endings.  In  the  present  MS.  the 
pronunciation  of  many  endings  is  purely  conjectural,  the  metre, 
owing  to  its  irregularity,  being  seldom  conclusive.     The  language 


xxxvi  The  Language. 

is  seen  to  be  in  a  state  of  greatest  confusion   about  the  year   1450. 
I  note  below  a  few  of  the  grammatical  forms  of  this  text. 

I.  Declension.  Nouns.  In  Substantives  of  English  origin,  the 
final  e  of  the  sng.  nom.  is  rnaintained  in  sotne  cases  :  tyme  137,  1751  ; 
name  132;  erthe  535.  Inorganic  e  occurs  in  frende  1798,  1807; 
wytte  1887.  Genitives  have  regularly  the  endings  (e)s,  es,ys;  whales 
1535;  foes  1126;  feldys  1451;  the  genitive  form  ladyes  is  found 
in  1 1  78. 

The  dative  and  accusative  maintain  the  e  in  crabbe  i  ;  erthe  67, 
1627;  tyme  69;  hede  271  (:  sykerly)  286,  356,  384  (perhaps  hede 
379);  tyde  334;  felde  959;  ende  1799;  sonne  1896;  tonne  1897; 
tylthe  1 7  10;  and  others.  Plurals  conwionly  end  in  {e)s,  es,ys;  other 
plurals  are  found,  as  deere  65,  68  ;  thyng  1064  5  eyen  220  ;  men  759  ; 
foon  1762;  chyldren  1659. 

///  Substantives  of  Romance  origin  the  final  e  in  the  sng.  nom.  is 
found  in  only  a  few  cases:  hooste  11 24;  bande  1162;  chere  375; 
gowne  320.  The  genitives  end  regularly  in  (e)s,  es.  With  proper  names 
hys  is  sometimes  used  to  indicate  the  genitive,  as  Vertew  hys  men  1072  ; 
Yvce  hys  quarrell  1055.  The  dative  and  accusative  are  most  of  ten 
without  endings,  though  a  final  e  occurs  in  pese  238;  chare  792; 
scorge  1 1 70;  scoole  1396,  1659.  Plurals  are  regularly  found  in  {e)s, 
es,  ys. 

II.  The  Adjectives  are  generally  without  case  endings.  The  final 
e  appears,  however,  in  all  cases,  sng.  and  pi. :  as  nom.  sng.  foule, 
dymme,  313;  olde  390,  1749;//.  olde  294;  in  oblique  cases  sng., 
derke  310  ;  crystallyne  372  ;  rewde  438  ;  foule  648  ;  hoole  1172  ;//., 
sage  389;  blake  141 2. 

III.  The  Pronouns  have  the  comtjion  M.  E.  for 7ns ;  ye  is  used  as 
singular  in  32,  95,  as  plural  in  150;  she  is  found  i/i  378,  se  in  376; 
hit  occurs  regularly ;  theym  is  used  in  48,  415,  hem  in  66,  126  ;  her 
(their)  is  used  in  47,  65,  123,  867,  and  regularly.  The  indefinite 
som,  without  ending,  occurs  in  865,  11 96,  1198,  1199.  For  relatives, 
which  that  and  who  {ya.r€),  are  used;  by  hem  that  lyues  20;  he 
that  21  ;   poetes  whyche  1743;   [he]  who  769. 

IV.  Adverbs  are  found  with  endings  e,  es  or  ys,  ly  and  without 
endings:  sone  36,  461,  721,  1345;  while  181,  72;  ferre  1627;  newe 
562  ;  nedys  21,  1372  ;  nedes  1245  ;  elles  33,  1033  ;  ellys  1614,  1385  ; 
eftsones  1007. 

V.  Conjugation  of  Verbs.  The  formation  of  the  tenses  of  the 
verbs,  strong  and  weak,  is  the  same  as  in  Chaucer.     Infinitives  end 


Literary  Analysis.  xxxvii 

in  e,  though  perhaps  more  often  they  are  without  endings,  as  fall 
230,  riming  with  shall ;  syt  191  riming  with  yet ;  fly  1185  riming  with 
sodenly  ;  bow  2024  riming  with  how;  tell  30  riming  with  hell,  etc. 
The  third  person,  indicative,  present,  has  regularly  the  e>iding  eth,  efh. 
The  northern  es  is  found  in  two  places :  dryues  21,  manaces  61  [in  pi. 
lyues  20).  The  past  participle  is  without  a  prefix  ge-,  i-  or  y-;  the 
strong  verbs  end  commonly  in  en  and  e,  the  weak  in  yd,  ed,  t: 
knowen  1141;  beholdyn  1866;  taken  501;  take  59,  267,  547,  722, 
725;  tane  2013;  broke  182;  spoke  181;  ronne  i;  dreven  1080; 
cropyn  1953;  ouerthrow  1149  rimes  with  know  (inf.)  and  1191  with 
low.  The  form  beene  occurs  in  2047  riming  with  seene,  also  bene 
420,  1343,  ben  627,  byn  1798,  be  115,  298,460;  bee  1136.  So 
occur  the  forms  goon  757,  go  1396  ;  done  48,  563,  doon  84,  do  195, 
1248  (riming  with  lo),   496,;  seene  545,  seyne  1671. 


CHAPTER  VII. 

THE  POEM. 

A.     Literary  Analysis.' 

A.  Introduction  {stanzas  /-j).  The  time :  when  Phoebus  had 
nearly  finished  his  course  in  the  Crab.  The  place  :  I  was  sitting 
alone  beside  a  lake.  The  theme  :  musing  how  I  might  make  Rea- 
son and  Sensuality  to  accord.  The  framework  of  the  action  :  a 
dream.     The  director  of  the  dream  :   Morpheus. 

B.  The  Action  of  the  Dream :  the  Theme  illustrated  {6-2gi).  Act 
I.  The  case  of  Eolus  (6-8/').  Scene  1.  At  the  Court  of  Minos  in  Hell 
{6-26). — Characters  at  the  Court:  Pluto,  Ruler  of  Hell;  Minos,  the 
Justice  ;  Cerberus,  the  Constable  ;  Diana  and  Neptune,  plaintiffs  ; 
Eolus,  the  defendant;  Morpheus  and  Lydgate,  spectators,  {a)  Eolus 
led  in  by  Cerberus  (6).  (/')  Silence  proclaimed  by  Pluto  (7).  (^)  The 
complaint  of  Diana:  Eolus  had  destroyed  her  forests  with  his  blasts 
wherefore  the  deer  were  without  shelter  (8-1 1).  [d)  The  complaint 
of  Neptune:  Eolus  had  disputed  with  him  the  jurisdiction  of  the 
sea  and  had  caused  him  to  turn  against  his  natural  course  and  to 
labor  far  out  of  measure,  making  him  to  ebb  and  flow  out  of  his 
season.  Moreover,  Eolus  had  destroyed  those  to  whom  he  had 
granted   protection   (12-20).      (<")   The   case    in   judgment    (21-23). 

'  I  have  analyzed  the  poem  according  to  its  dramatic  divisions  as  if  it  were  a 
Moral  Plav. 


xxxviii  Literary  Analysis. 

(/)  The  court  dismissed,  witliout  action,  at  the  invitation  of  Apollo 
to  a  banquet  (24-27).  Scene  IF.  At  the  palace  of  Apollo  {2'/-8'j).  (a) 
Apollo  sues  for  Diana's  forgiveness  of  Eolus  (27-34).  (d)  Neptune 
accepts  Phebe  as  arbiter  of  his  case  (35).  (c)  The  banquet  (36- 
59):  Apollo  seats  his  guests  at  the  table,  Aurora  and  Apollo,  Diana 
and  Mars,  Juno  and  Jupiter,  Ceres  and  Saturn,  Othea  (Athena)  and 
Cupid,  Fortune  and  Pluto,  Isis  and  Pan,  Minerva  and  Neptune, 
Phoebus  and  Bacchus,  Venus  and  Mercurv.  The  waiters  were 
philosophers  and  poets.  Orpheus  and  Pan  made  miisic.  Of  dain- 
ties and  meats  there  was  a  plenteous  store,  (il)  Discord  enters  but 
is  denied  a  y)lace  at  the  table  (59-60).  (e)  Discord  departs 
in  wrath  and  meets  with  Atropos  (60).  (/)  Atropos  takes  her 
part  and  enters  the  palace  (6 1-52).  (g)  He  rudelv  salutes  the  Gods 
(63);  recites  his  services  to  them  in  destroying  Hector,  Alexander, 
Caesar,  etc.  (64-69);  charges  them  with  assisting  one  whom  he  can 
not  destroy  (70);  refuses  to  serve  them  longer  (71).  (//)  The  Gods 
in  dismay  swear  to  help  Atropos  and  to  confound  this  rebel.  But 
Eolus  will  not  help  them  (72-75).  (/)  Excursus:  how  Eolus  came 
into  the  power  of  Pluto  (76-80).  (/)  Eolus,  forgiven  by  Neptune 
at  the  request  of  Phebe,  promises  to  afflict  the  rebel  if  he  be  in  the 
air  (81-84).  (1:)  The  name  of  this  rebel  is  Virtue  (85-86).  Pluto 
sends  for  his  son  Vice  (87). 

Act  II.  The  Battle  hettceeii  the  Vices  aud  Virtues  in  the  field  of 
Microcosm  (88-210).  Scene  I.  The  gathering  of  the  hosts  {88-133). 
{(.i)  Vice  and  his  head-captains.  Pride,  Envv,  Wrath,  Covetousness, 
Glutton}',  Lechery,  Sloth  (88-91);  inferior  captains,  Sacrilege, 
Simony,  etc.,  a  great  companv  (91-95);  such  a  host  of  commons 
man  never  beheld  —  they  were  led  by  Idleness  (95-102).  {b)  Virtue 
and  his  head-captains.  Humility,  Charity,  Patience,  Liberality,  Absti- 
nence, Chastity,  Good-Business  (103-118);  inferior  captains  and 
common  soldiers  numbering  a  tenth  of  Vice's  host  (i  19-133). 
Scene  II.  The  preparation  for  the  combat  {134-/38).  The  field  is 
Microcosm.  It  is  entered  by  five  highways.  Conscience  is  judge 
of  the  battle.  Freewill  is  Lord  of  the  l-'ield.  {a)  Vice  and  \'irtue 
dub  fourteen  knights  each  (140-142).  (/')  They  send  ambassadors 
to  Freewill  (143-146).  {c)  Sensuality  sows  the  field  with  wicked 
seeds  (146-147).  Scene  III.  The  battle  {148-162).  {a)  Virtue  tar- 
ries under  the  Sign  of  the  Cross  and  wards  off  the  shots  bv  the  Shield 
of  the  Holy  Trinity  (149-150).  (b)  Virtue,  abandoned  by  Freewill, 
retreats  (151-154).      {c)   Other  captains   hold   the   ground   and   Per- 


Literary  Analysis.  '  xxxix 

severance  brings  reinforcements  (155-159).  (d)  Vice  is  overthrown 
(160-162).  Scene  IF.  The  result,  (a)  Freewill  repents  (163-164). 
(/>)  Vice  is  met  by  Despair  (165).  (e)  Prescience  drives  Vice  and 
his  host  through  the  gates  of  Hell  (166-167).  (d)  Predestination 
gives  Virtue  the  palm  of  Victory  and  to  all  a  heavenly  habitation 
(168-170).  (<;')  Some  of  Vice's  host  repent  (i 71-174).  (/)  Free- 
will recompenses  Virtue.  Freewill  is  made  bailiff  in  IVIicrocosm 
under  Reason.  Sensuality  is  guided  by  Sadness.  To  Morpheus 
are  given  the  five  keys  of  the  highways  (178-187).  (g)  Atropos, 
angry  at  the  Gods,  seeks  another  master.  He  is  called  Death  and 
given  possession  of  Microcosm  (188-209).  (//)  Virtue  is  exalted 
above  the  firmament  to  receive  the  Crown  of  Glory  (210). 

Act  HI.  The  School  and  Lessons  of  Doctrine  :  The  Doubt  Solved 
(21  i-2go).  The  place,  a  garden  with  four  pictured  walls;  the  por- 
ter, Wit  ;  the  teachers.  Doctrine,  Holy  Text,  Gloss  and  Moralization  ; 
the  scribe.  Scripture.  Scene  I.  (a).  The  I)iterpretation  by  Doctrine 
of  the  dream  and  of  the  four  "  Tifnes'"  pictured  on  the  walls  {211— 
27j).  First,  the  imprisonment  of  Eolus  signifies  that  wealth  increases 
misrule.  Every  man  is  judged  by  Minos  according  to  his  wicked- 
ness. The  complaint  of  Diana  and  Neptune  signifies  the  folly  of 
fools  in  seeking  to  bring  the  winds  to  correction.  When  they  came 
to  the  banquet  of  Apollo  like  fools  they  gave  up  the  matter  to 
oblivion.  The  Gods  resemble  false  idols.  In  the  beginning  the 
people  slept  in  pagan  law.  The  poets  feigned  many  fables  which 
were  given  places  and  names.  Idolatry  was  the  rule  during  the 
Time  of  Deviation  from  Adam  to  Moses.  With  Moses  began  the  Time 
of  Revocation  which  endured  to  the  Incarnation  of  Christ.  The 
New  Testament  opens  the  time  of  Reconciliation.  The  Time  of 
Pilgrimage  or  War  is  signified  by  the  battle  between  Vice  and  Vir- 
tue. As  for  Atropos  his  complaint  signifies  the  constraint  of  friend- 
ship. Discord  must  needs  be  avenged  by  Death.  The  battle 
betokens  the  moral  struggle  in  the  soul.  Microcosm  is  the  world 
of  man.  Perseverance  betokens  the  continuance  of  virtuous  living. 
Prescience  and  Predestination  are  therewarders  of  Vice  and  Virtue. 
The  five  keys  are  man's  five  wits.  The  return  of  man  to  sin  is  pre- 
vented bv  Reason  and  Sadness.  Scene  II.  The  reconciliation  of 
Reason  and  Sensuality:  the  theme  completed  {2y6-288).  a.  Death, 
Reason  and  Sensuality  enter.  Of  Death  Lydgateis  afraid.  Reason 
argues  that  Death  ought  to  be  shunned.  In  this  sentiment  Sen- 
suality accords.      (/;).   Doctrine  vanishes  (289-290). 


xl  The  Religious  Character. 

C.  The  Conclusion  {2g2-joi^.  (a).  The  dream  broken  (291-293). 
(f).  Lest  fault  be  found  with  me  I  record  the  vision  (294-296).  (< ). 
The  exhortation  (297-301)  :  Gentle  Reader,  walk  ahvay  in  the  path 
of  Virtue.  Fight  daily  against  the  World,  the  Flesh,  and  the 
Devil.  Thine  shall  be  the  glory  and  the  heavenly  mansions.  Let 
us  pray  that  the  Lord  of  Glory  give  us  grace.  Let  us  magnify  his 
name.     To  you  may  Jesus  grant  eternal  joy. 

B.  Literary  Studies. 

I.  The  Religious  Character  of  the  Poem. — The  Assembly  of  Gods  is 
one  of  Lydgate's  numerous  moral  treatises  so  sounding  in  virtues 
that  Bishop  Alcock  of  Ely  (b.  1430),  in  sermons  addressed  to  the 
generation  succeeding  the  poet,  might  praise  it  as  leading  to  "the 
encrease  of  vertue  and  the  oppression  of  vyce.'"  It  is  a  sermon  in 
verse,  only  the  moral  truth  is  "cloked,"  as  Stephen  Hawes  phrases  it, 
"with  cloudy  fygures."  By  this  time  Lydgate  at  Bury  St.  Edmunds 
must  have  become  an  excellent  ecclesiastic.  In  the  poem  he  freely 
employs  the  vocabulary  of  mediaeval  monasticism.  The  explanation 
by  Doctrine,  for  instance,  of  the  pagan  deities,  and  indeed  the 
whole  discourse  of  Doctrine,  is  in  the  manner  of  the  early  theolo- 
gians and  schoolmen.  Thus  the  writings  of  Fulgentius,  the  gram- 
marian (c.  480-550),  notably  his  Mythologiarum  {Mythologicori) 
Libri,  which  explains  the  pagan  names  and  legends,  mav  be  cited 
as  the  far  source  of  that  portion  of  the  poem  which  interprets 
the  deities,  and  the  Hamartigenia  and  Psychomachia  of  Prudentius, 
the  Christian  hynm  writer,  a  little  earlier  than  Fulgentius,  may  be 
consulted  for  the  origin  of  that  part  which  contains  the  battle  of 
the  vices  and  virtues.  Lydgate's  immediate  masters  in  opinion  and 
sentiment  were  the  compilers  of  tlie  Gesta  Romanorum. 

The  definite  teachings  of  the  treatise  might  indeed  be  gathered 
into  a  system.*  The  one  God  is  thought  of  as  a  Supreme  Judge, 
Alpha  and  Omega  omnipotent,  standing  above  the  lirmamcnt 
and  apportioning  infinite  rewards  and  punishments.  Life  is  a  pil- 
grimage, a  war  with  the  sins.     Sin  is  the  parent  of  all  woe.     Death 

^ Sermo  on  Luke  viii.,  printed  c.  1496.  "  Frendes  I  remembre  daves  here 
before  in  my  vouthe  that  there  was  a  vertuous  monke  of  Bury  called  Lydgate, 
whiche  wrote  many  noble  histories  and  made  many  vertuous  balettes  to  the  encrease 
of  vertue  and  op])rcssion  of  vyce."     Brydges'  Brit.  Bibliog.,  iii,  p.  533. 

'That  Lydgate  knew  his  creed  well  is  shown  by  Londoji  Lackpentiy,  Minor 
Poems,  p.  106. 


The  Religious   Character.  xli 

is  the  supreme  object  of  dread.  Salvation  is  sacramental  and  sacer- 
dotal. Remedies  against  sin  are  found  in  the  Seven  Blessings  of 
the  Gospel,  the  Seven  Virtues  of  God,  the  Ten  Commandments,  the 
Twelve  Articles  of  the  Faith,  the  Seven  Sacraments,  Veneration  of 
the  Cross  and  the  Saints,  the  Doctrine  of  Unity  and  the  System  of 
Redemption  in  Christ.  The  necessity  of  penance  is  especially 
enjoined.  The  chief  sacraments  are  Baptism  and  the  Eucharist,  the 
one  being  regarded  as  the  sacrament  of  the  new  birth,  the  other  as 
the  sacrament  of  sanctification  which  maintains  the  new  life.  Of 
course  the  church  is  built  on  the  stone  of  Peter  who  keeps  the  keys 
of  Heaven.  In  all  the  poem  there  is  not  the  least  suggestion  of 
the  coming  Reformation  or  of  the  work  of  Wyclif.  A  digression 
is  made  at  one  point  to  notice  the  error  of  Origen  (st.  227.)  And 
circumcision  is. held  in  derision  (st.  173.).  The  work  closes  appro- 
priately with  a  prayer  to  the  Son  of  the  Virgin  Mary. 

Of  the  artistic  merits  of  such  a  treatise  little  can  be  said.  The 
poem  is  simply  one  of  the  many  moral  poems  which  were  so  popular 
during  the  Middle  Ages  throughout  Europe  and  which  were  calcu- 
lated to  gratify  the  almost  universal  taste  for  poetry  of  a  serious  and  S 
didactic  nature.  We  can  now  consider  these  works  hardly  other 
than  monuments  of  the  bad  taste  that  accompanies  a  low  literary 
culture.  Such  writings  belong  however  to  the  history  of  literature 
and  without  their  consideration  that  history  would  be  incomplete. 

The  Assembly  of  Gods  is  worthy  of  special  attention  for  its  complex 
allegory,  which  is  one  of  the  best  of  its  kind.  I  admit  at  the  begin- 
ning that  it  will  furnish  no  pleasure  to  those  who  seek  in  literature 
for  originality  and  imaginative  power.  No  one  today  would  think  of 
echoing  the  praise  of  Lydgate's  poet-friends,  or  of  placing  Lydgate's 
name  by  the  side  of  Chaucer,  though  he  may  be  fair  companion  for 
Gower  and  Hoccleve.  That  Burgh  should  think  his  master  knew  the 
muses  well  {Secrees,  st.  226),  that  Stephen  Hawes  should  maintain  that 
Lydgate  was  the  "most  dulcet  sprynge  of  famous  rhethoryke" 
{Pastime  of  Pleasure),  that  Dunbar  should  write  that  Lydgate  had 
with  his  "mellifluate  "  speech  illumined  the  English  language,  and 
that  before  his  coming  the  English  Isle  was  "bare  and  desolate  of 
rethorike  or  lusty  fresch  endyte"  {The  Golden  Targe) — that  this 
chorus  of  eulogy  should  be  at  all  received  only  illustrates  the 
imperfect  literary  sense  of  the  late  Middle  Ages  in  England,  that 
period  which  Taine  calls  appropriately,  for  its  almost  utter  lack  alike 
of  the  "  grand  style  "  and  any  high  imagination,  the  Dark  Age.     Lau- 


xlii  The  Religions  Character. 

reate  Skelton,  alone  among  these  early  writers,  has  a  bit  of  discerning 
criticism  of  Lydgate's  work  in  his  Phyllyp  Sparrowe  (11.  804-12)  : 
"  It  is  dyffuse  to  fynde  (difficult  to  understand) 

The  sentence  of  his  mynde. 

Yet  wryteth  he  in  his  kynd, 

No  man  that  can  amend 

Those  maters  that  he  hath  pende  ; 

Yet  some  men  fynde  a  faute, 

And  say  he  wryteth  to  haute  (loftily)." 

But  while  we  cannot  greatly  admire  a  poem  of  this  moralizing 
kind,  it  mustbe  remembered  that  the  work  is  no  worse  than  very 
much  of  the  prose  and  poetry  of  the  Middle -English  period,  nearly 
all  of  which  is  ethical  if  not  distinctly  religious  in  character,  and 
which  might  be  assigned  with  propriety  to  the  alcoves  of  the  theo- 
logical library.  Chaucer  is  almost  the  only  writer  apiid  the  multi- 
tude of  preachers  and  satirists  who  obeyed  his  artistic  rather  than 
his  moral  conscience.  The  moral  and  artistic  blend  happily,  it  is 
true,  in  Langland  who,  although  a  reformer,  was  gifted  with  such 
Dantean  earnestness  and  strength  as  to  elevate  his  noble  Piers  the 
Plowman  into  a  true  and  poetic  allegory  of  the  soul.  Beautiful  too 
is  the  poem  of  the  Pearl  in  its  perfect  union  of  religious  earnestness 
and  deep  and  delicate  poetic  feeling,  the  lyric  gem  of  all  this  period. 
Still  on  the  whole  it  must  be  said  that  while  England  was  ready 
ripe  for  an  artistic  literature  in  the  period  of  the  Renaissance, 
during  the  Middle  Ages  the  secret  of  art  was  wanting.  For  liter- 
ature with  the  artistic  stamp  we  must  go  to  the  continent,  especially 
to  Italy.  To  Provencal  poetry  England  presents  no  counterpart 
save  perhaps  the  people's  ballads  and  songs  of  Robin  Hood. 
Not  until  the  advent  of  the  "courtly  makers"  of  the  reign  of 
Henry  VHI.  was  there  any  sign  of  change  to  an  artistic  literature. 
Religion  and  not  Art,  in  short,  was  the  "Time-spirit"  of  the  age. 
So  prevalent  is  the  moral  motive,  indeed,  that  it  is  not  surprising  to 
find  even  Chaucer  professing  himself  in  his  last  years  to  be  more 
thankful  that  he  had  translated  the  Consolation  of  Boethius  and 
repeated  Saints'  Lives  and  religious  homilies  than  that  he  had  written 
the  great  works  of  his  artistic  imagination,  the  worldly  vanities  of 
which  filled  his  senile  mind  with  concern.  As  Mr.  Lowell  observes 
in  comparing  Chaucer  and  Dante,  the  main  question  with  the  former 
was  after  all  the  conduct  of  life.  The  conduct  of  life  —  this  concern 
has  been  the  characteristic  English  trait  from  Caedmon  to  Browning. 
That  Lydgate's  life  tended  to  moral  good  if  not  to  artistic  purpose 


The  Fear  of  DeatJi.  xliii 

is  evidenced  by  the  prayer  of  Hawes  in  his  Excusation  of  the  Pastime 
of  Pleasure,  vilio  prayed  God  to  give  him  grace  to  compile  books  of 
"moral  vertue" — 

"  Of  my  maister  Lidgate  to  folowe  the  trace, 
His  noble  fame  for  laude  and  renue, 
Whiche  in  his  lyfe  the  slouthe  did  eschue ; 
Makyng  great  bokes  to  be  in  memory, 
On  whose  soule  I  pray  God  have  mere)'." 

2.  The  Fear  of  Death  and  the  Seorn  of  the  World. — It  is  now  quite 
generally  acknowledged  that  the  mediseval  conception  of  life  is  very 
accurately  signified  by  a  line  in  Dante's  Piirgatorio  (xxxiii,  54-5)  : 
"To  those  who  live  the  life  that  is  a  race  to  death."  It  is  notable 
that  the  same  sentiment  is  repeated  in  almost  the  same  words, 
though  in  broad  Scotch,  by  William  Dunbar,  whose  death  year  was 
just  two  centuries  after  the  passing  of  Dante,  his  daily  sombre  line 
running  :      "  Quhat  is  this  lyfe  bot  ane  straucht  way  to  deid  ?" 

These  lines  expressly  point  to  what  was  the  most  characteristic 
feature  of  mediaevalism,  the  almost  universal  dualism  of  thought. 
In  art  there  was  developed  during  the  early  Christian  era  a  complete 
system  of  allegory  and  symbolism.  A  world  of  sense  images  on  the 
one  hand  was  set  over  against  a  universe  of  analogical  and  mystical 
meanings  on  the  other,  the  former  being  strictly  subordinated  to 
the  latter.  This  exaltation  of  the  spiritual  at  the  expense  of  the 
natural  characterised  the  religious  life  of  the  whole  people.  As  Mr. 
Kidd  makes  clear,  the  first  fourteen  centuries  of  our  civilization  were 
devoted  to  the  growth  and  development  of  a  stupendous  system  of 
otherworldliness.  The  supernatural  became  the  object  of  the  popular 
faith.  And  the  conception  of  a  future  life  simply  overshadowed 
every  consideration  of  the  present.  During  the  two  centuries  that 
I  have  noted,  reckoning  roughly  from  Dante  to  Dunbar,  this  faith 
in  the  other-world  reached  its  culmination.  Before  Dante  the 
boundaries  of  the  dual  realm  had  not  been  perfectly  limned  ;  the 
construction  of  the  circles  of  the  supernatural  was  the  work  of  the 
poet  in  whom  thirteen  centuries  of  Christianity  actuallv  came  to 
expression.  After  Dunbar  the  spirit  of  the  Renaissance  is  working, 
introducing  into  this  divided  universe  the  principle  of  unity.  It  is 
certain  that  in  Shakespeare  unity  is  well  nigh  established.  The 
development  of  the  English  drama  away  from  the  supernaturalism  of 
the  Miracle  Play  and  the  abstraction  of  the  Moralities  and  towards  a 
more  or  less  consistent  realism  indicates  the  breaking-up  of  dualistic 


xliv  The  Fear  of  Death. 

thought.  Shakespeare  having  seen  that  men  and  women  arrive  at 
judgment  in  the  world  could  disregard  the  life  to  come.  Taking 
then  into  our  view  the  dramatic  realm  of  Dante,  the  other-world,  and 
of  Shakespeare,  the  present  world,  we  discover  in  the  centuries 
intervening  between  the  life-work  of  these  two  artists  the  incidents 
of  a  remarkable  transition  in  thought,  the  break-up  of  a  dualistic 
system.  In  the  art  of  the  i6th  century,  which  was  more  immediately 
the  producj:  of  the  Renaissance,  the  new  principle  of  unity  is  seen  to 
be  confirmed.  Naturally  the  tradition  of  religion  continued  longer 
in  force.  Still  the  Reforujation  church  destroyed  one  feature  of 
supernaturalism,  the  belief  in  Purgatory,  and  though  it  was  under 
the  necessity  of  maintaining  the  theory  of  Paradise  and  Hell,  it 
laid  greater  stress  than  before  upon  the  actual  life  of  men  upon  the 
earth.  It  was  after  all  a  problem  of  the  earth  that  Milton  tried  to 
solve  — the  justification  of  the  ways  of  God  to  men. 

Following  the  rise  of  the  system  of  otherworldliness  there  grew  in 
the  heart  of  man,  century  by  century  from  the  founding  of  the 
church,  an  ever  present  fear,  a  fear  that  for  sinful  men  was  only 
increased  by  the  joy  of  the  martyrs,  the  fear  of  Him  who  was  called 
Death,  the  Foeman,  the  invincible  Archer.  During  the  14th  and  15th 
centuries  this  dread  of  death  was  at  its  uttermost.  On  the  physical  side 
the  fear  at  this  period  was  heightened  by  the  helplessness  of  all 
Europe  before  the  ravages  of  the  Black  Plague,  at  the  approach  of 
which  householders  could  only  cry,  "The  Lord  have  mercy  upon 
us."  Spiritually  the  Day  of  Doom  with  its  attendant  terrors  was  a 
fully  realized  conception,  and  no  man  was  so  sure  of  victory  that 
he  did. not  tremble  on  the  verge  of  the  grave. 

By  reference  to  the  homiletic  and  didactic  literature  of  the  14th 
and  15th  centuries  in  England  the  fear  of  death  is  found  to  be  part 
and  parcel  of  the  religious  feeling  of  the  time.  In  the  Fricke  of 
Conscience,  which  contains  the  religious  meditations  of  that  strange 
hermit  and  visionary,  Richard  Rolle  of  Hampole,  most  of  whose  life 
was  contemporary  with  that  of  Dante  and  who  bore  about  with  him 
a  certain  Dantean  mysticism,  we  learn  of  the  Unstableness  of  the 
World,  of  Death  and  why  it  is  to  be  dreaded,  of  Purgatory,  Dooms- 
day, and  the  Pains  of  Hell.  Dan  Michel's  Ayenbite  of  I/nvyt, 
contemporary  with  Hampole's  work,  and  illustrative  likewise  of  the 
teachings  of  the  church,  takes  a  similar  view  of  the  present  and  future 
life.  Comparing  these  and  other  typical  treatises  with  reference  to 
the  report  which  they  make  upon  death,  it  is  seen  that  they  accord 


The  Fear  of  Death.  xlv 

in  assigning  to  Death,  who  is  invariably  heralded  by  Dread,  the 
execution  upon  all  creatures  of  the  awful  sentence  of  doom. 

It  was  taught,  to  be  sure,  that  to  good  men  death  may  be  the 
end  of  evils  and  the  beginning  of  every  blessing.  Yet  the  righteous 
could  not  escape  from  the  terrors  that  attend  death  —  the  death  that 
might  be  eternal.  On  the  day  of  Doom  even  angels  and  archangels 
shall  tremble.  In  a  parable  it  was  written  that  at  the  door  of  the 
house  of  the  Spirit,  Dread,  the  messenger  of  Death,  should  knock  and 
demand  entrance.  He  comes  from  Hell,  the  torments  of  which 
surpass  the  picturing  of  the  imagination  :  in  a  great  deep  below 
Hell  yawns,  bottomless  and  frightful.  Out  of  the  stench  and  dark- 
ness rise  the  songs  of  sorrow  from  loathsome  fiends  in  chains.  Rest- 
less are  the  souls  encumbered  there,  that  are  tormented  by  hunger 
and  thirst,  that  are  driven  by  heat  and  cold  and  bathed  in  burning 
pitch,  withal  feeling  the  turnings  of  the  worm  of  conscience.  Satan 
is  there  with  his  rake,  having  horns  upon  his  head  and  knees,  yawn- 
ing with  his  mouth,  venting  fire  from  mouth  and  nostril  and  eyepits. 
This  was  the  background  of  terror  upon  which  were  pictured  the 
glories  of  heaven.  By  hopeful  ones  it  was  remembered  that  Christ 
had  descended  into  Hell  and  broken  the  gates  asunder.  Gentle  spirits 
taught  that  "  Loue  is  more  stranger /ianne  drede"  [Ay.  of  Inw.  p.  75) 
that  "Love  of  God  driveth  out  fear"  (^aet'/ifi-  Warde,  O.  E.  Hom.^.  259). 
Yet  upon  the  foundation  of  fear  the  medineval  church  was  erected. 
The  church  then  seemed  to  have  been  established  for  little  else 
than  to  harass  the  human  race. 

The  homiletic  treatment  of  death'  and  doom  precedes  the  poetic 
by  about  a  century.  The  characteristic  utterance  on  these  themes 
in  English  poetry  is  subsequent  to  1400  and  well  along  in  the  i6th 
century.'  Yet  Langland's  great  poem  (about  1362-1393)  has  a  con- 
tent typical  of  the  century  to  which  it  belongs.  Perhaps  the  most 
striking  and  vigorous  passage  in  all  his  Vision  of  the  World  at  work 
is  the  one  descriptive  of  the  procession  of  Death  amid  the  "field  full 
of  folk": 

"  Elde  pe  hore  he  was  in  pQ  vauntwarde, 
And  bare  ps  banere  bifor  deth  by  righte  he  it  claymed. 
Kynde  come  after  with  many  kene  sores, 
As  pokkes  and  pestilences  and  moche  people  shente  ; 

'See  Sackville's  picture  in  the  Induction  to  the  Mirroiir  for  Magistrates 
and  Southwell's  Image  of  Death,  and  many  others  of  like  import  even  in  the  days 
of  the  Renaissance. 


xlvi  The  Fear  of  Death. 

So  kvnde  poxw  corupciouns  kulled  ful  manve. 
Deth  cam  dryuende  after  and  al  to  doust  passhed 
Kvnges  &  knyghtes,  kavseres  and  popes ; 
Lered  ne  lewed  he  let  no  man  stonde, 
That  he  hitte  euene  ^at  euere  stired  after. 
Many  a  louely  lady  and  lemmanes  of  knyghtes 
Swouned  and  swelled  for  sorwe  of  dethes  dyntes." 

—  P.  PL  Pas.  XX. II.  94-104. 

So  in  the  fear  of  death,  Dunbar,  a  characteristic  inelancholv 
figure  of  the  15th  century,  wrote  his  startling  and  horrible  Danee 
of  the  Sevin  Deidly  Syniiis.  For  "This  fals  warld,"  he  said,  "is  bot 
transitory."  A\'hen  Beauty  won  her  victory  over  the  poet  — so  ran 
his  allegory  —  he  was  consigned  to  the  custody  of  Grief.  Youth 
and  loveliness,  bravery  and  wit,  all  come  to  an  end  : 

"  Onto  the  ded  gois  all  estatis, 
Princis,  prelates,  and  potestatis, 
Baith  riche  and  pur  of  all  degre ; 

Timor  mortis  conturbat  me." — Lament. 

The   poets,  "the   makers"   themselves,  for   all  their   sweet  service 
cannot  escape  the  end  :  "  I  see  the  makers  among  the  rest." 

"  He  hes  done  petuouslv  devour 
The  noble  Chaucer,  of  makaris  flour, 
The  monk  of  Bery,  and  Gower,  all  thre; 
Timor  mortis  conturbat  me."  ' — Laniait. 

At  length  the  man  that  feared  not  Death  found  a  place  in  Barc- 
lay's Ship  of  Fools  (85th),  the  author  knowing  well  : 

"There  never  was  man  of  so  greate  pryde  ne  pompe 
Nor  of  such  myght,  youth  nor  man  of  age 
That  myght  gaynsay  the  sounde  of  dethes  trompe. 
He  makes  man  daunce  and  that  without  courage 
As  well  the  state  as  man  of  lowe  lynage 
His  cruell  cours  is  ay  so  intretable 
That  mannys  myght  to  withstand  is  nat  able." 

■ — Barclay,  Ship  of  Fools,  II.  p.  119. 

In  this  manner  the  Fool  who  thought  to  escape  Death  became  a 
prominent  character  in  the  spectacle-plays.  The  Fool  always  ended 
bv  becoming  perforce  Death's  servant.  Shakspeare  refers  to  the 
action  in  Measure  for  Measure  (Act.  III.  Sc.  i.): 

'  This  line  occurs  in  one  of  Lydgate's  poems  and  forms  the  burden  of  more 
than  one  of  the  popular  songs  of  the  day,  indicating  the  rather  "sad  sincerity"  of 
English  life.  And  cf.  Villon's  ballad  with  the  refrain:  "Ou  sont  des  neiges 
d'antan  ?  " 


The  Fear  of  Death.  xlvii 

"Merely,  thou  art  death's  fool ; 
For  him  thou  labour'st  by  thy  flight  to  shun, 
And  yet  runn'st  toward  him  still." 

There  were  many  sides,  of  course,  to  mediaeval  life.  The  monks 
often  forgot  their  professions  of  sanctity  and,  living  for  the  moment 
for  the  world,  incurred  —  rightly,  no  doubt  —  the  satire  of  the  poets 
and  preachers.  Chaucer's  gay,  worldling  monk  who  "loved  vene- 
rie,"  and  the  churchman  who  knew  rimes  about  Robin  Hood  better 
than  his  prayers  and  could  hunt  a  hare  in  the  fields  better  than  a 
clause  in  a  Saints'  Lives,  were  not,  perhaps,  uncommon  types. 
Dunbar  said,  after  all,  "best  to  be  blyth  "  in  the  face  of  the  false 
world,  and  to  his  verses  he  often  gave,  like  Villon,  the  sweetness  of 
melancholy.  Among  the  poems  of  the  Percy  MS.  (Vol.  IIL  56)  is  one 
entitled  Death  and  Life  and  thought  to  be  late  Middle-  English  work. 
It  contains  a  gracious  picture  of  Lady  Dame  Life,  brighter  than  the 
sun,  redder  than  the  rose,  ever  laughing  for  love,  awakening  life 
and  love  in  grass  and  tree,  in  bird  and  beast  and  man,  as  she  speeds, 
with  Comfort,  Hope,  Love,  Courtesy,  Honor,  Mirth,  Mercy  and  • 
Disport  in  her  train,  in  her  conquest  over  Death.  The  sense  of  the  * 
piece,  despite  the  intrusion  of  the  "ugly  fiend  Dame  Death,"  is  that 
of  gladness  in  the  thought  of  life.  Still  the  ballad  shines  by  con- 
trast. It  was  most  common,  it  appears,  to  scoff  at  the  world — that  was 
vanity  and  mockery.  Where  there  was  one  like  Chaucer  who  could 
take  a  calm,  sane  delight  in  life,  seeing  too  deeply  into  the  nature  of 
things  to  despair,  there  were  many  like  Pope  Innocent  III.  to  enu- 
merate without  a  gleam  of  hope  the  miseries  of  human  conditions.' 
"/e  worldeycleped  pt  daneof  tyeeres,"  expresses  Dan  Michel's  judg- 
ment. Langland,  the  English  Mystic,  had  likewise  an  austere  and 
frowning  face,  and,  having  in  his  view  the  "field  full  of  folk," 
burned  with  indignation  at  the  worldlings  there  that  Chaucer  loved, 
the  latter  poet's  sunny  and  sensuous  tales  being  regarded  as  mortal 
sin.  Death  it  was  that  made  the  world  a  mockery.  When 
Graund  Amoure,  in  Hawes'  Pastime  of  Pleasure,  became  eager  to 
heap  up  the  world's  riches  it  was  Death  that  stood  by  to  warn  that 
these  are  valueless.  So  it  was  Death  that  rendered  Nature 
unlovely.  In  the  Example  of  Virtue  Hawes  brought  Lusty  Juven- 
tus  within  the  glorious  mansion  of  Dame  Nature,  whose  perfect 
loveliness  the  youth  admired  ;  but    Discretion,  as  was  his   part,  led 

'  De  Contemptu  Mundi  sive  de  Miseria  Conditionis  Humanis. 


■^  OF    THK 


xlviii  TJic  Fear  of  Death. 

to  a  place  where  the  goddess's  back  was  seen,  which  was  all  marred 
by  an  image  of  Death. 

Taking  now  into  consideration  these  two  sentiments  of  medioeval 
life,  the  scorn  -of  the  world,  and  the  fear  of  death,  it  is  noteworthy 
that  Lydgate  represents  most  fully  the  religious  attitude.  In  his 
youth  he  loved  the  pleasures  of  the  world.  In  his  Testament,  refer- 
ring to  his  wayward  youth,  he  tells  how  he  was  converted  : 

"  When  Ver  is  fresshest  of  blosmys  and  of  flourys. 
An  vnwar  storm  his  fresshnesse  may  apayre. 
Who  may  withstande  the  sterne  sharp  shourys 
Of  dethys  power,  wher  hym  list  repavre? 
Thouhe  the  feturis  fresshe,  angelik  and  fayre, 
Shewe  out  in  childhood,  as  any  cristal  cleer, 
Dethe  can  difface  hem  witheyne  fyfteene  yeere. 

"  Which  now  rememljrvng  in  my  latter  age, 
Tymc  of  my  childhood,  as  I  reherse  shal, 
Witheyne  fifteene  holdyng  my  passage. 
Mid  of  a  cloistre  depict  vpon  a  wal ; 
I  sauhe  a  crucifix,  whos  woundys  were  nat  smal, 
With  this  woord  VIDE  writen  ther  besyde, 
'  Behold  my  meeknesse,  O  child,  and  lefe  thy  pride.'  " 

From  various  sources  we  have  the  outward  aspect  of  the  monk 
in  this  "latter  age"  revealed.  In  a  Shirley  MS.  (Addit.  16,165  Brit. 
Mus.)  reference  is  made  to  "Lydgate  the  Monk  clothed  in  blakke." 
Douglas,  mentioning  Lydgate  among  the  poets  in  the  Court  of  the 
Muses,  witnesses  that  he  "raid  musing  him  allone"  {Pa/ice  of 
Honour)  In  the  prolog  to  the  Sto?y  of  Thebes,  written  by  Lydgate 
to  complete  the  Canterbury  Tales,  he  describes  himself  as  looking 
pale  and  bloodless  and  wearing  a  cape  of  black  —  no  fit  companion 
for  Chaucer's  gayer  pilgrims  one  would  think.  But  the  most  per- 
fect description  is  given  by  William  Bullein  in  his  Dialogue  against 
the  Fever  Pestilence  (Lond.  1573).  Having  spoken  of  Homer, 
Hesiod,  Ennius  and  Lucan  as  favorites  of  the  Muses,  Bullein  adds 
to  the  list  of  beneficiaries  Gower,  Skelton,  Chaucer,  and  Lydgate. 
The  last  he  thus  describes:  "Lamenting  Lidgate,  lurking  emong 
the  lilies  with  a  bold  skons,  with  a  garland  of  willowes  about  his  pate; 
booted  he  was  after  Sainct  Bcnet's  guise,  and  a  black  stamell  robe, 
with  a  lothly  monsterous  hoode,  hanging  backwarde  ;  his  stoopyng 
forward,  bewavling  euery  estate,  with  the  spirite  of  prouidence  for- 
seyng  the  falles  of  wicked  men,  and  the  slipprie  seates  of  Princes, 
the  ebbyng  and  flowyng,  the  risyng  and  falling  of  men  in  auctoritie. 


The  Fear  of  Death.  xlix 

and  how  vertue  doth  aduaunce  the  simple,  and  vice  ouerthrowe 
the  most  noble  of  the  worlde."  (Bullein's  Dialogue,  E.  E.  T.  S., 
p.   17.) 

Of  these  accounts  there  is  every  justification  in  Lydgate's  writings. 
The  dominant  themes  are  without  question  those  connected  with  the 
thought  of  death  and  change.  The  painting  at  St.  Paul's  of  the 
procession  of  Death  seemed  to  impress  his  mind  deeply.  Beside 
his  translation  of  the  French  verses  of  the  Dance  Macawbre  more 
than  one  reference  occurs  in  his  lyrics  to  the  "Daunce  of  Poules" 
{Minor  Poems,  p.  34,  77).  Often  he  pictures  life  as  a  hard  pilgrim- 
age, "in  which  there  is  no  stedfast  abyding."  He  harps  recurrently 
upon  the  wretchedness  of  human  affairs  —  the  note  being  taken,  he 
affirms,  from  his  master  Chaucer  !  One  of  his  favorite  topics  is  to 
show  the  greatness  of  mankind  and  how  they  are  brought  low  :  "All 
do  but  show  a  shadow  transitory." 

"Stabilnesse  is  founde  in  nothyng, 

In  worldly  honour  who  so  lokithe  wele ; 
For  dethe  ne  sparithe  emperour  ne  kyng, 

Thoughe  they  be  armed  in  plates  made  of  Steele ; 
He  castithe  downe  princes  from  fortunes  wheele, 

As  hir  spokes  rounde  about  goo, 
To  exemplifye,  who  that  markithe  wele, 

How  this  world  is  a  thurghfare  ful  of  woo." 

Oti  the  Wretchedness  of  Worldly  Affairs,  M.  P.,  p.  126. 

"Considre  and  see  the  transmutacioun. 
How  the  sesoun  of  greene  lusty  age. 
Force  of  juventus,  hardy  as  lioun, 

Tyme  of  manhood,  wisdom,  sad  corage. 
And  how  decrepitus  turneth  to  dotage, 

Al  cast  in  ballaunce,  bewar,  forget  nothyng. 
And  thu  shalt  fynde  this  lyff  a  pylgrymage. 
In  which  there  is  no  stedfast  abydyng." 

— 0)1  the  Mutability  of  Human  Affairs,  p.  198. 

The  Daunce  of  Poules  or  the  Dautice  Macawbre  consists  of  verses 
spoken  by  Death  to  the  various  persons  he  is  leading  to  the 
grave  and  of  their  responses.  All  must  go  upon  this  dance,  the 
Pope,  the  highest  in  the  land,  the  Emperor,  the  Cardinal,  the  Em- 
press, the  King  and  all  the  lower  ranks  —  there  is  none  escape. 

"  In  this  myrrour  every  man  may  fvnde 
That  hym  behoveth  to  gon  upon  this  daunce 
Who  goth  to  forne  or  who  schal  go  behynde 
Al  dependeth  in  goddes  ordynaunce. 


1  The  Co)ivc)itional  Materials. 

Wherfor  eche  man  lowly  take  his  chaunce. 
Deth  spareth  not  pore  ne  blode  ryal, 
Eche  man  therfor  haue  this  in  remembraunce 
Of  on  matere  God  hath  forged  al." 

The  Asse77ibly  of  Gods  is  the  consummate  expression  of  Lydgate's 
fear  of  death.  Death  is  here  the  central  figure  throughout.  In  the 
fear  all  accord — Lydgate,  Reason  and  Sensuality.  Very  appropri- 
ately the  last  recorded  line  written  bv  this  somewhat  sombre  monk, 
line  1 49 1  of  the  Secrces  of  Old  PhiUsoffres,  is  of  Death  : 

"Deth  al  consumyth  which  may  nat  be  denved." 
3.  The  Conve7itional  Materials. — The  Assembly  of  Gods  in  respect 
to  its  materials,  its  machinery,  so  to  speak,  is  anything  but  original. 
The  poet  is  thrown  into  the  conventional  sleep  bv  a  lake  side,  on 
the  hackneyed  spring  morning.  At  once  we  e.xpect  the  poem  to  be 
crammed  full  of  stereotyped  theology,  mythologv  and  allegorv. 
Indeed  the  work  as  a  whole  is  merely  a  mosaic  of  current  traditions, 
the  different  parts  being  fitted  together  with  more  or  less  perfect  skill. 
When,  then,  we  come  to  estimate  the  literary  effects  of  compositions 
of  this  sort,  their  origins  and  history  must  be  taken  into  account. 
Mediaeval  ideas  had  alwavs  a  definite  pedigree.  While  modern 
romantic  literature  is  most  characterized  by  its  personal  element, 
medicxval  literature  may  be  divided  rather  into  impersonal  classes,  as 
romances,  chronicles,  lays,  etc.  Individuality  rarely  appeared  as  an 
element  of  poetic  composition.  Each  writer,  being  under  no  com- 
pulsion to  originate  or  invent,  simply  threw  what  he  had  to  say  into 
the  prevailing  form.  The  genius  of  poetry,  both  with  respect  to 
form  and  materials,  was  conventionality.'  An  artist  was  held  in  esti- 
mation according  to  his  skill  in  plagiarizing  from  the  world's 
literatures.  It  was  sufficient  that  he  could  wiselv  quote,  that  he  had 
won  a  reputation  for  scholarship,  and  that  the  epithet  "learned"  be 
attached  to  him.  It  is  characteristic  of  the  age  that  Dante,  after  a 
youth  spent  in  writing  love  songs,  should  plan  a  Co/ivito,  to  be  avast 
encyclopaedic  work,  so  anxious  was  he  that  the  title  of  "learned" 
might  offset  the  reproach  of  a  vouth  misspent  in  composing  love 
sonnets.     So  Chaucer  was  called  with  approbation  "learned"  and 

'This  feature  of  mediaeval  literature  is  commonly  spoken  of  by  readers 
slightingly  and  with  meagre  patience.  But  a  traditional  literature  is  cumulative, 
so  to  speak,  in  its  effects.  Repetition  is  then  a  virtue  and  not  a  weakness.  Tra- 
ditions are  most  effective  at  the  moment  of  most  common  use.  A  later  age  is 
quite  incapable  of  giving  full  and  due  credit  to  conventions  that  have  passed ;  it 
should  at  least  exercise  charity. 


TJie   Conventional  Materials.  li 

the  "great  translator."  In  his  case,  by  reason  of  the  blending  in 
his  works  of  his  own  stream  of  romantic  fancy  and  feeling  with  this 
remote  traditional  tide,  often  strange  anomalies  of  thought  were 
produced.  In  fact  Chaucer  was  differentiated  from  the  writers  of 
the  period  by  his  originality  which  worked  with  new  results  upon 
the  materials  that  tradition  had  given  him.  Yet  it  was  for  his  learn- 
ing that  he  was  most  admired.  It  is  not  necessary  to  disprove  the 
extent  or  accuracy  of  Chaucer's  attainment  in  this  respect.'  Like 
other  writers  of  the  period  he  was  learned  enough  to  refer  sugges- 
tively to  matters  more  or  less  familiar  to  his  readers,  who  held  their 
own  knowledge  loosely,  and  in  the  manner  of  all  middle-age  erudi- 
tion, without  critical  accuracy.  A  work  of  this  period  is  not  then  to 
be  interpreted  by  itself  but  by  the  class  of  literature  to  which  it 
belongs  by  virtue  of  associated  themes  and  motifs.  When  one  first 
reads  the  opening  stanzas  of  the  Assembly  of  Gods  he  exclaims 
that  it  is  a  dream  like  Fiers  the  Plozvman,  like  the  Poem  of  the 
Pearl,  like  the  Eoman  de  la  Rose  and  the  Divina  Comedia.  These 
poems  and  many  more  add  their  several  contributions  to  one's 
delight.  A  phrase  here,  a  thought  there,  the  dream,  the  allegory, 
the  pictured  walls,  the  theme  of  death,  in  one  way  or  another 
serve  to  recall  pretty  much  the  whole  of  mediaeval  literatures — just 
probably  as  the  author  intended.  Only  by  thus  recovering  the  past 
and  setting  a  work  in  the  historical  current,  can  we  understand  the 
pleasure  and  profit  with  which  a  poem  of  this  kind  was  read  by 
contemporaries  and  by  those  of  a  later  time  to  whom  its  literary 
traditions  were  familiar.  We  must  remember  that  to  Lydgate,^  for 
a  century  after  his  death,  the  distinction  was  given  of  belong- 
ing with  Gower  and  Chaucer  to  the  great  triumvirate  of  letters. 
Not  alone  for  his  "  sugurit  lippis  and  toungis  aureate"  was  this 
fame  acquired,  though  for  these  he  seems  to  have  been  most  admired 
by  Hawes,  the  Scottish  poets,  the  critic  Webb,  and  the  poet  Gray; 
but  his  praise  was  in  the  mouth  of  his  nearest  disciple,  Benedict 
Burgh,  for  that  "ye  have  gadred  flouris  in  this  motli  mede," — in  the 
literature,  that  is,  of  the  past — and  on  this  account  "to  yow  is  yeven 
the  verray  price  of  excellence."  Of  course  a  succeeding  age,  intent 
upon  the  Reformation  and  the  New  Learning,  forgot  the  mediaeval 
traditions,  the  dream,  the  allegory,  the  teachings  of  Doctrine,  and 

'  Cf.  Lounsbury  Studies  in  Chancer,  ch.  v. 

*  For  the  subject  of  Lydgate's  literary  fame  v.  Sidney  Lee's  summary  in  Did. 
of  Natl.  Biog.  XXXIV.,  p.  309-10. 


Hi  The   Coiivciitio)ial  Materials. 

Lydgate  and  his  school  were  relegated  to  obscurity.  Chaucer  sur- 
vives now  not  for  his  learning  but  because  of  the  perrennial  char:;!  of 
his  native  genius.  No  one  of  us  cares  much  for  Boethius  or 
Fulgentius  or  Prudentius,  or  even  Dante  in  his  doctor's  robes,  dead^ 
all  of  them,  to  modern  comprehension. 

No  one  will  question  Lydgate's  learning  or  the  extent  of  his 
reading.  He  was  more  or  less  faniiliar  with  ancient  and  mediaeval 
literatures,  especially  that  written  in  Latin  and  French.  His  library 
contained  nmch  the  same  books  that  Chaucer,  Gower  and  Langland 
read.  He  is  as  pedantic  as  thevin  filling  his  pages  with  the  names 
of  authors  and  famous  men.  He  illustrates,  as  thev.  the  influence 
exercised  in  poetry  by  the  scholastic  and  encyclopaedic  training  of 
the  Church  and  School.  Mr.  Lee's  statement  on  this  point  is  suf- 
ficient : 

"Lvdgate  mentions  familiarly  all  the  great  writers  of  classical 
and  mediaeval  antiquity.  Of  Greek  authors  he  claims  some  aquaint- 
ance  with  'grete'  Homer,  Euripides,  Demosthenes,  Plato,  Aristotle 
and  Josephus.  Among  Latin  writers  he  refers  constantly  to  Ovid, 
Cicero,  Virgil,  and  his  commentator  Servius,  Livy,  Juvenal  and 
'noble'  Persius  ;  to  'moral'  Seneca,  Lucan,  Statins,  Aulus  Gellius, 
Valerius  Maxinms,  Prudentius,  Lactantius,  Prosper  the  'dogmatic' 
epigrammatist,  Vegetius,  Boethius,  Fulgentius,  Alanus  ab  Insulis, 
and  Guido  di  Colonna.  Dante,  Petrarch,  and  Boccaccio  are 
repeatedly  commended  by  him  among  Italian  writers,  and  he  was 
clearly  acquainted  with  the  'Roman  de  la  Rose,'  with  French 
fabliaux,  romances,  and  chronicles." — Diet.  Natl.  Biog.  XXXIV., 
p.  309. 

The  mosaic  of  the  Assembly  of  Gods  is  made  up  of  the  following 
materials,  all  of  which  are  traditional  and  common. 

Introduction  with  the  season  fnotif. 

The  dream. 

The  painted  walls. 

The  School  of  Doctrine. 

The  pagan   Divinities. 

The  court  scene  and  the  banquet  of  the  Gods. 

The  Nine  Worthies  and  the  learned  men   of  antiquity. 

The  allegory. 

Proverbial  phrases. 

The  teaching  of  the  Church. 

The  Seven  Sins  and  Virtues. 


The  Season  Motif,  liii 

The  battle  of  Antichrist. 

The  Liberal  Sciences. 

The  five  Wits. 

The  fear  of  Death. 

The  romance  of  Paris  and  Helen. 

4.  The  Season  Motifs  The  introduction  of  Middle-English 
poems  by  reference  to  the  season  of  the  year  and  the  position  of  the 
planets  seems  generally  to  have  been  merely  a  part  of  the  machinery 
of  composition — a  happy  way  of  getting  started.  The  same  pre- 
lude is  met  with  in  the  Provencal,  French  and  German  lyrics  of  the 
period  with  wearisome  regularity.  The  May  landscape  especially 
was  stereotyped  into  set  forms  that  could  have  had  but  a  rhetorical 
significance.  With  Chaucer  and  most  of  the  Scottish  poets,  the 
nature-prelude  was,  one  feels,  something  more  than  derivative. 
Chaucer,  King  James,  Dunbar,  and  Douglas  especially  appear  to 
draw  quite  directly  from  nature  with  a  heartfelt  feeling  for  the 
season.  They  write  with  an  unction  and  an  eye  for  delicate  effects 
never  exhibited  in  the  purely  conventional  prelude.  Chaucer's  love 
of  nature  amounted  almost  to  a  passion.  Whatever  he  touched 
broke  into  full  blossom.  Reading  him,  as  Lowell  says,  is  like  brush- 
ing through  the  dewy  grass  at  sunrise.  Poets  with  Chaucer's  spirit 
had  naturally  a  sense  for  nature  as  a  dramatic  background  for  their 
compositions.  Thus  it  was  agreed  that  May^  was  the  "mirthful 
month,"  the  "  quicking"  season,  the  month  of  "joy  and  disport," 
the  one  that  "among  months  sittith  like  a  queen  " — the  time,  there- 
fore, for  beginning  love-poems  and  romantic  allegories.  Chaucer 
tells  us  that  in  the  Spring  he  would  say  farewell  to  his  books  and 
walk  out  in  the  meadow;  this  was  the  time  to  compose  "Seyntes 
Legends  of  Cupid."  The  association  of  the  romances  with  the 
Spring  was  so  common  that  there  came  to  be  a  saying  that  "Arthur 
is  the  man  of  May."  Where  the  dramatic  motive  was  present  other 
seasons  would  be  employed  as  the  occasion  required.  The  Pearl 
occurred  in  the  high  season  of  August  when  the  reapers'  sickles 
were   in    the   corn.      Lyndesay's   Drcnie  opens  appropriately  with  a 

'  See  McLaughlin,  Studies  hi  Alediaval  Life  and  Literature,  c\\.  i.;  also  Veitch, 
Nattire  in  Scottish  Poetry. 

*  There  is  a  primitive  feeling  among  poets  that  Spring  is  the  season  of  delights. 
Keats  had  this  sense  in  a  large  degree  when  he  began  to  write  Endyjuion  "while 
the  early  budders  are  just  new,"  hoping  that  no  wintry  season  should  find  his  work 
incomplete. 


liv  The  Season  Motif 

dreary  winter's  night  in  January.  Dunbar's  liorrible  Dance  of  the 
Sinns  is  seen  in  February.  Sackville's  Mirroiir  for  Magistrates, 
which  harks  back  to  the  Chaucer  School,  begins  in  the  "  wrathful 
winter."  In  one  instance  Chaucer  opens  a  poem,  the  Hoits  of  Fame, 
modelling  his  work  upon  Dante,  with  the  December  season.  In 
Henryson's  melancholy  story  of  Troylus  and  Creseyde  there  is  an 
open  effort  to  construct  a  dramatic  background,  for  the  poet  says 
in  beginning  : 

"  Ane  doolie  sesouii  to  anc  cairfidl  dyte 
Suld  coj-respofid,  and  be  equivalent ; 
Richt  sa  it  wes  quhen  I  began  to  write 
This  tragedie,  the  wedder  richt  fervent, 
Quhen  Aries,  in  middis  of  the  Lent, 
Schouris  of  haill  can  fra  the  north  descend, 
That  scantlie  fra  the  cauld  I  micht  defend." 

But  there  are  other  cases,  as  Langland's  Piers  the  Phni'ina)!,^  where 
no  aesthetic  value  in  the  prelude  can  be  determined.  The  last  of 
these  derivative  forms,  as  in  Skelton's  Bowge  of  Court,  or  Fletcher's 
Purple  Island,  seem  but  rhetorical.  The  conventional  aspect  of  the 
introduction  is  well  displayed  by  Lvndesav  when  he  begins  his 
doleful  Monarchie  with  the  May  morning,  as  if  he  were  unable  to 
get  started  in  any  other  way,  but  realizing  that  his  purpose  is  to 
describe  mortal  miseries,  he  calls  a  truce  to  his  vain  descriptions 
and  turns  to  the  matter  in  hand. 

In  the  minds  of  some  writers  there  may  have  been  a  thought  of 
the  planetary  influences  that  ever  streamed  down  from  the  heavens 
upon  the  earth.  Astrology  is  known  to  have  been  an  attractive 
theme  to  the  mediaeval  poets.  "It  was  the  delight  of  Dante,"  says 
Dean  Church,  "to  interweave  the  poetry  of  feeling  and  of  the  out- 
ward sense  with  the  grandeur  of  order,  proportion,  measured  mag- 
nitudes, the  relation  of  abstract  forces  displayed  on  such  a  scene  as 
the  material  universe."  Chaucer  constantly  makes  a  literary  use  of 
astrology  though  personally  skeptical  of  the  pretentions  of  the 
science.  This  perception  of  the  starry  forces  at  work  in  the  lives 
of  men  must  have  been  present  in  the  first  of  the  preludes.  Thus 
the  introduction  served  almost  the  function  of  an  invocation  to  the 
Muses.  King  James,  indeed,  invoking  the  Muses  Nine,  passes  at 
once  to  consider  the  Spring  "that  full  of  vertu  is  and  gude."  In 
one  of  the  very  earliest  of  the  poems  containing  the  typical  season 

'Langland  seemed  to  have  had  Mapes'  Golias  satire  in  mind  when  he  began 
to  write.     Note  Mapes'  "Inter  prodigia  plebem  innumeram." 


The    Visioti.  Iv 

motive,  the  Apocalypse  of  Go/ias,  written  toward  the  close  of  the  12th 
century,  the  astronomical  allusion  is  prominent  • 

"A  Tauro  torrida  lampade  Cynthii 
Fundente  jacula  ferventis  radii 
Umbrosas  nemoris  latebras  adii, 
Explorans  gratiam  levis  Favonii. 

Aestivae  medio  diei  tempore, 
Frondosa  recubans  Jovis  sub  arbore, 
Astantis  video  formam  Pythiagorae  : 
Deus  scit,  nescio,  utrum  in  corpore." 

May  was  the  month  of  life  because  the  planets  at  that  season  had 
special  power  of  hot  and  moist/ 

With  Lydgate  and  his  immediate  pupils,  as  Hawes  in  the  Pas- 
time of  Pleasure,  the  astronomical  introduction  is  apparently  a 
matter  of  pure  literary  habit.  The  vision  of  the  Temple  of  Glas 
takes  place  in  December,  after  its  model  the  JToiis  of  Fame.  The 
opening  of  the  Assembly  of  Gods  —  the  only  reference  to  nature  in 
the  work  —  is  conventional.  It  is  barely  possible  that  in  the  monk's 
scholastic  mind  there  was  in  the  reference  to  the  spheres  the  sug- 
gestion of  the  harmony  to  be  achieved  by  Reason  and  Sensuality. 

5.  The  Vision.-  In  the  psychology  of  the  Middle  Ages  the 
vision  is  perhaps  the  most  remarkable  phenomenon  displayed.  The 
records  of  dreams  constitute  in  Europe  and  England  an  entire  lit- 
erature with  features  peculiar  to  the  kind.  Some  of  this  dream- 
work  is  in  imitation  of  the  revelations  of  Scripture  ;  some  works 
are  clearly  due  to  the  hallucinations  of  an  ascetic  life  ;  some  are  as 
plainly  the  results  of  adoration,  the  fruits  of  "contemplative  life," 
in  the  exercise  of  which  men  passed  from  the  knowledge  of  things 
of  sense  to  knowledge  of  things  eternal ;  others  reveal  the  passion 
for  dogmatic  definition  that  characterized  the  schoolmen  however 
mystical  the  theme  ;  other  forms  are  secular  and  merely  a  part  of 
the  higher  rhetoric  of  poetry  as  then  conceived  and  developed. 
After  the  Bible,  the  head  sources  of  the  mediaeval  visions  seem  to 
have  been  the  "  Dialogues  "  of  St.  Gregory,  a  compilation  of  many 
religious  dreams,  the  De  Consolatione  Philosophice  of  Boethius,  and 
the  Somnium  Scipioiiis  in   Cicero's  treatise  on  The  Republic.     In 

'  For  the  effects  of  the  seasons  upon  the  lives  of  men  see  Lydgate's  Testament, 
The  Mutability  of  Human  Affairs,  and  the  Secrees. 

*See  'Lecky's  History  of  European  Af orals,  II.,  pp.  wd  et  seq.,  220.  For  fur- 
ther references  to  the  literature  of  the  vision  see  Schick's  Intro.,  p.  cxviii. 


Ivi  Proverbial  Phrases. 

general,  two  tvpes  of  vision  are  distinguishable,  in  accordance  uith 
their  monastic  or  worldly  origin.  In  the  visions  of  one  class  the 
dreamer  takes  into  his  view  the  circles  of  the  supernatural,  and 
reports  as  man  may  of  the  revelations  accorded  him  either  of 
Heaven  or  Hell  or  the  intermediate  states.  In  the  other  class  the 
objects  of  contemplation  are  in  the  "wilderness  of  this  world,"  and 
the  dream  may  be  but  a  poetical  device,  a  kind  of  framework  for 
any  secular  action  or  incident,  as  the  experiences  of  a  lover 
in  the  Romauiit  of  the  Rose.  In  English  literature  illustration 
of  the  first  type  is  furnished  by  The  Pearl,  with  its  view  of  the 
heavenly  citv  ;  Dunbar's  Da7ice  of  the  Seven  Deadly  Si/ifis,  with  its 
vision  of  Hell ;  and  Lyndesay's  Dreme,  which  gives  the  reader  sight 
of  all  the  circles  of  the  Infinite.  Probably  the  earliest  instance  in 
England  of  this  kind  of  dream  is  the  Apocalypse  of  Golias,  written 
in  Latin  by  Walter  Mapes  (b.  1143),  a  work  w^hich  enjoyed  an 
extraordinary  popularity  during  the  13th  and  14th  centuries.  The 
chief  examples  of  the  second  type  are  Langland's  Piers  the  Plow- 
man, Chaucer's  several  dreams,  King  James's  Quair,  Dunbar's 
Golden   Targe,  Skelton's  Bowge  of  Court,  etc. 

The  Assembly  of  Gods  is  in  its  scope  a  vision  of  the  first  order, 
though  the  battle  takes  place  in  Microcosm.  Probably  Lydgate 
did  not  have  anv  very  real  sense  of  the  other  worlds,  nor  could  he 
ever  loose  his  imagination  so  that  he  really  saw  visions — at  best  he 
asked  but  for  dogmatic  definition  as  the  schoolmen  before  him. 

6.  Proverbial  Phrases.  Like  other  writers  of  the  period  Lyd- 
gate makes  a  conspicuous  use  of  conventional  phrases  and  pro- 
verbial sayings.  A  considerable  body  of  proverbs,  rhetorical  figures, 
and  phrases  mav  be  gathered  from  his  works,  some  of  which  are 
peculiar  to  his  own  usage  and  style,  while  others  are  the  common 
property  of  literature.  On  a  later  page  is  given  a  list  of  the  prov- 
erbs and  phrases  emploved  in  this  poem.  The  manner  of  the 
employment  of  a  stock  simile  by  writers  is  well  illustrated  by  the 
history  of  the  phrase  "  hair  like  gold  wire"  which  seems  to  have  been 
given  currencv  by  Lydgate.  The  simile  first  occurs  in  Layamon's  j^r///" 
(11.  7047-8),  where  it  is  emploved  to  describe  King  Pir  who  was  so 
wondrous  fair.  Bv  Lvdgate  it  was  first  used  to  characterize  the 
feathers  of  a  bird  in  the  Cliorl  and  Bird.  In  the  Temple  of  Glas 
and  the  Assefnbly  of  Gods  (1.  373)  the  reference  is  to  Venus  with  her 
ever  sunnish  hair."  In  the  Troy-Book  it  occurs  no  less  than  seven 
times  being  applied  both  to  men  and  women.     The  larger  compari- 


The  Painted  Wall.  Ivii 

son  "hair  like  gold"  is  often  found  in  European  literature  before 
Lydgate  as  in  the  Roman  de  la  Rose,  but  this  special  phrase  is  Lyd- 
gate's  own.  From  this  time  to  the  close  of  the  sixteenth  century 
the  figure  is  in  constant  employment',  generally  descriptive  of 
women  of  ideal  beauty.  Its  force  is  partly  spent  in  Shakespeare's 
time,  for  the  reverence  for  gold  hair  is  satirized  by  the  saying  of 
Benedick  in  Much  Ado  about  Nothing  (II.,  3,  36)  :  "Her  hair  shall 
be  of  what  colour  it  please  God."  In  sonnet  cxxx.  reference  is 
made  to  Lydgate's  simile  in  the  line,  "If  hairs  be  wires,  black  wires 
grow  on  her  head." 

7.  The  Painted  Wall.^  The  pictured  wall  was  another  rhetorical 
device  common  to  mediseval  poetry— an  elastic  framework  into  which 
any  subject  could  be  made  to  fit.  It  was  a  convenient  means  of 
extending  indefinitely  the  scope  of  one's  work.  To  such  an  extent 
was  the  method  carried  that  a  secondary  poet  like  Stephen  Hawes 
cannot  mention  a  wall  without  covering  it  over  with  pictures. 
Instances  of  the  usage  will  be  found  in  Boccaccio's  Thesiad,  in  the 
romance  of  Guigemar  by  Marie  de  France,  Lorris's  Roman  de  la 
Rose,  Chaucer's  Boke  of  the  Duchesse,  Lydgate's  Temple  of  Glas  and 
Assembly  of  Gods,  Hawes's  Pastime  of  Pleasure,  Dunbar's  Di-eam, 
Barclay's  Towre  of  Vertue  and  Honour,  etc.  In  the  romances  the 
stories  depicted  are  commonly  those  of  love.  In  Guigemar,  for 
instance,  the  walls  are  painted  with  images  of  Venus  and  scenes 
from  Ovid's  Art  of  Love,  and  in  the  Boke  of  the  Duchesse  the 
imagery  is  that  of  the  Roman  de  la  Rose.  In  descriptions  of  the 
temples  of  Mars  and  Diana  scenes  of  war  and  the  hunt  will  appear. 
The  siege  of  Troy  or  Thebes  was  a  favorite  theme  for  the  walls  of 
palaces.  Scriptural  scenes  occur  in  cathedrals  and  cloisters.  Dun- 
bar saw  on  his  chamber  walls 

"All  the  nobill  stoiyis  old  and  new, 
Sen  oure  first  father  formed  was  of  clay." 

'  For  many  instances  of  its  usage  see  Schick's  Temple  of  Glas,  notes,  pp.  88- 
90  ;  and  Kolbing,  Bevis  of  Hainioun,  notes,  pp.  244-5  !  ^^d  for  a  full  discussion  of 
its  usage  and  resthetical  meaning  see  a  paper  by  the  present  editor  read  before  the 
English  Club  (Chicago)  and  reported  in  outline  in  the  University  Quarterly  Calen- 
dar (May,  1895),  p.  80. 

^See  Warton,  Hist,  of  En  g.  Poetry,  II.,  pp.  131,  275,  402;  TIL,  p.  63;  on 
page  402,  Vol.  11.,  is  reprinted  a  passage  from  an  Itinerary  written  in  1322  describ- 
ing Westminster  palace  ;  see  Longfellow's  Golden  Legend  for  instances  of  picture 
and  play ;  a  description  of  convent  walls  is  given  in  Piers  the  Ptowinan^s  Crede, 
11.  1 86,  tt  seq. 


Iviii  Pagan  and  Christian    Traditions. 

While  this  method  is  an  open  piece  of  machinery  when  viewed 
as  rhetoric,  quite  ludicrous  too  when  as  elaborate  as  Lydgate's  arbor 
walls  which  reveal  the  history  of  the  world  in  small,  yet  it  should 
be  remembered  that  during  the  Middle  Ages  the  picture  was  the 
favorite  means  of  conveying  story  and  doctrine.  It  is  a  remark- 
able feature  of  mediaeval  art  that  often  no  positive  line  of  division 
can  be  drawn  between  literature  and  picture  or  spectacular  show. 
The  paintings  on  royal  palaces  of  the  scenes  of  war,  the  weaving  on 
ladies'  tapestries  of  the  incidents  of  romance,  the  picturing  on 
cloister  walls  of  the  saints  and  scenes  from  Scripture,  the  depiction 
in  public  places  as  on  the  bridge  at  Lucerne  and  in  the  churches  in 
France  and  England  of  such  instructional  processionals  as  the 
Dance  of  Death,  the  scenic  representation  of  sacred  things  in 
liturgies,  and  pageants  and  street  plays  —  these  constituted  the 
popular  literature  of  the  period,  of  far  greater  influence  than  the 
written  page  that  issued  from  the  scriptorium  of  the  monastery. 
Allegory,  the  written  picture,  necessarily  adopted  the  scenic  method 
for  which  the  mind  was  already  prepared.  This  interplav  of 
imagery  between  picture  and  allegory  contributed  much  to  the 
later  establishment  of  an  independent  literature.  But  for  the 
present  the  pictorial  was  the  literary.  Even  Chaucer  was  not 
freed  from  the  necessitv  of  "drawing  of  picture." 

8.  The  Admixture  of  Pagan  and  Christian  Traditions.— Or\& 
characteristic  of  the  Assembly  of  Gods  is  the  curious  admixture  in 
it  of  pagan  and  Christian  traditions.  The  pagan  deities  are  all 
ranged  on  the  side  of  the  Vices  of  Christendom.  The  Christian 
Vice  is  represented  as  the  son  of  Pluto,  who  is  the  Lord  of  the 
Christian  Hell.  The  ancient  Fateful  Atropos,  wlio  cut  with  shears 
the  thread  of  pagan  life,  is  transformed  into  Death  with  a  lance,  the 
dread  of  the  Christian  Church. 

It  was  the  almost  universal  practice  of  the  poets  of  late  Middle 
English  to  confound  the  mythology  of  all  peoples  and  to  mix  up 
incongruously  the  pagan  myths  and  Christian  allegories,  constitut- 
ing in  fact  a  veritable  mythology  of  their  own.  Gower  in  his  Confessio 
Amantis,  Douglas  in  his  Palicc  of  Honour,  King  James  in  his  Quair, 
and  others  of  the  allegorical  school  disj)lay  their  learning  in  this  man- 
ner. Such  usage  points  to  the  renaissance  of  paganism,  accompany- 
ing the  temporary  decay  of  Christianity  in  the  14th  century,  and  to  the 
rise  of  a  new  mythology,  and  foreshadows  the  new  learning  of  the  next 
century.     The  results  of  this  renaissance  in  Europe  a  century  later 


Pagan  and  Christian    Traditions.  lix 

are  well  exhibited  by  Browning  in  his  poem,  The  Bishop  Orders  his 
Tomb,  where  Pans  and  Nymphs,  symbols  of  Delphic  wisdom  and 
Bacchic  revels,  the  Saviour  on  the  Mount,  St.  Praxed  in  his  glory 
and  Moses  with  his  tables  are  brought  into  juxtaposition  on  the 
sculptured  tomb.  We  know  too  that  in  Italy  Plato  was  called  the 
second  Moses  and  Orpheus,  Empedocles,  Parmenides  and  others 
were  placed  on  a  level  with  David  and  the  prophets. 

In  some  cases  there  seems  to  be  more  than  a  poetic  use  of  the 
machinery  of  mythology  —  as  if  some  profound  meaning  was 
read  into  the  ancient  myths.  Always  when  traditional  currents 
from  different  sources  blend,  the  underlying  human  meanings  are 
transferred  and  commonly  understood.  When  Angelo  painted  in  the 
Last  Judgment  an  Herculean  Christ  he  was  clearly  not  irreverent. 
Dante  wrote  Olympus  for  Paradise  {Fi/rg.  c.  xxiv.  1.  15).  He  spoke 
of  Christ  as  "Sommo  Giove"  who  was  crucified  for  us  {Pnrg.  c.  vi.  1. 
118).  In  canto  xxix,  the  Grifon  naturally  symbolizes  the  Christ.  In 
a  like  spirit  Milton  and  others  have  spoken  of  Christ  as  the  "mighty 
Pan,"  and  Milton's  Deity,  as  Lowell  observes,  was  a  Calvanistic  Zeus. 
Even  Bunyan  introduces,  into  his  Holy  War,  Cerberus,  who  swears 
by  St.  Mary,  and  the  Furies,  Alecto,  Megaera  and  Tisiphone,  and 
the  incongruity  of  their  presence  there  seems  to  have  escaped  his 
attention.  Chaucer  in  calling  one  of  his  works  the  Seintes  Legend  of 
Cupyde  must  have  entered  into  the  spirit  of  the  heathen  pantheism 
as  a  real  form  of  religion.' 

It  is  not  so  clear  that  Lydgate  entered  very  deeply  into  the  spirit 
of  mythology.  His  usage  is  not  very  consistent.  In  the  Assembly 
of  Gods  Cupid  is  counted  among  the  vices.  But  in  another  piece 
attributed  to  Lydgate  (Fairfax  MSS.  xvi.  Eibl.  Bodl.)  the  rubrics  of 
the  missal  are  applied  to  the  god  Cupid  for  whose  sake  many  were 
martyrs.  In  the  Life  of  Our  Lady  the  beauty  of  the  Virgin  Mary 
is  compared  with  that  of  Helen,  Polyxena,  Lucretia,  Dido,  Bath- 
sheba  and  Rachel.  The  clearest  case  of  insight  is  in  his  Testament 
where  Jesus  is  spoken  of  as 

"  Our  Orpheus  that  fro  captyvyte  ^ 
Feit  Erudice  to  his  celestial  tour." 

In  the  present  instance  Doctrine  is  under  the  necessity  of  explain- 
ing away  the  heathen  worship. 

'  Cf.  Mr.  Jephson's  remark,  Skeat's  ed.  Pr.  Tale,  notes  p.  136. 

''Jesus  was  frequently  represented  in  early  Christian  paintings  in  the  form  of 
Orpheus,  who  overcame  death. 


Ix  The  Allegorical  Type. 

9.  The  Allegorical  Type. — Middle- Englisli  literature  exhibits  two 
types  of  allegory  :  the  one  religious  and  scholastic,  having  its  origin 
in  the  exegetical  and  honiiletic  literature  of  the  monks  and  leading 
on  to  the  literature  of  the  Reformation  ;  the  other  secular  and  pro- 
fane, embodying  the  spirit  of  romance,  {)ersonifying  especially  the 
God  of  Love,  who  was  the  central  object  of  the  song  and  worship 
of  the  continental  minnesinger  and  troubadour,  leading  on  in  its 
turn  to  the  literature  of  the  Renaissance.  The  two  types,  differing 
thus  in  origin,  while  often  confused  with  respect  to  form,  are  always 
distinguishable  in  motive. 

The  original  Roman  de  la  ^^^.y^  represents  in  one  composition  the 
double  type  already  established  on  the  continent.  The  first  part, 
being  conceived  in  a  love  of  beauty  and  composed  with  the  fancy 
and  imagination  actively  at  play,  is  pure  poetry.  Lorris,  though  a 
belated  troiivere,\\a^  true  at  heart  and  sang  as  the  impulse  prompted 
him.  The  second  part  of  the  Roman,  written  forty  years  after  the 
first  by  a  reformer  and  moralist,  Jean  de  Meung,  not  to  be  mistaken 
for  a  poet,  is  didactic,  satirical,  and  metaphysical.  By  the  aid  of 
Lorns's  personification,  Meung  was  enabled  to  expound  and  popu- 
larize his  ideas  of  reform,  but  his  impersonations  recall  nothing  so 
well  as  the  entities  of  the  schoohnen.  The  personifications  and 
materials  of  the  didactic  svstem  were  adopted  by  the  poets  whose 
purpose  was  moral  or  satirical,  by  Langland,  Gower,  Lydgate,  Lynde- 
say,  Skelton  and  Barclay,  and  by  the  Moral-plays  so  soon  as  person- 
ification became  necessary  in  the  advance  of  the  drama  from  scenic 
representation  to  dramatic  characterization. 

Upon  the  model  of  the  Ro?nan  de  la  Rose,  which  was  translated 
into  English  with  amplifications  of  the  first  part  and  omission  of 
much  of  the  second  part,  were  formed  the  love  allegories  and 
romances  which,  being  all  in  the  "  May  morning  "  style,  with  sunny 
gardens  and  birdies  manifold,  contain  whatever  of  poetic  insj)ir- 
ation  the  later  Middle  Ages  in  England  possessed.  The  new 
Romaunt  of  the  Rose  provided  the  staple  model  for  the  poets  of 
the  court.  It  directed  the  composition  of  the  Court  of  Love,  and 
was  the  chief  influence  that  entered  the  Dreme,  Chaucer's  Boke 
of  the  Duchesse  and  perhaps  his  Hous  of  Fame.  To  the  list  we 
may  add  Lydgate's  Temple  of  Glas,  which  was  modeled  upon 
Chaucer's  Hous  of  Fame,  and  probablv  Hawes's  Pastime  of  Plea- 
sure. To  the  same  family  of  romance  allegorv  belongs  much 
of  the  literature  of  Scotland  written  during  the    15th   centurv,  that 


The  Allegory  and  the  Moral  Play.  Ixi 

at  least  of  most  refinement  and  delicacy,  notably  Dunbar's  Thissil 
and  the  Rois  and  the  Golden  Targe,  and  the  beautiful  Quair  by 
James,  "the  best  poet  who  ever  was  a  king."  In  the  romantic  vein 
Gawain  Douglas  wrote  his  Palace  of  Honour,  a  more  serious  style 
appearing  in  King  Hart,  which  allegorizes  the  progress  of  human  life. 
This  stream  of  romantic  allegory  flows  on  to  Spenser,  forming  in  the 
Faery  Queene  the  supreme  type  of  poetic  allegory.  Though  Spenser 
was  an  artist  of  the  Renaissance  he  was  yet  the  literary  descendant  of 
Chaucer  and  the  mediaeval  romanticists,  of  those  who  were  too  great 
as  artists  to  be  ever  dominated  by  the  moralities. 

As  for  the  rest  of  the  allegorical  literature  in  late  Middle-English 
the  tendency  is  to  sermonize.  In  the  case  of  Langland  and  perhaps 
of  Lyndesay  their  seriousness  is  of  such  a  nature  as  to  claim  our  atten- 
tion as  artistic.  Gower  might  have  been  a  romancer  if  he  had  not 
seen  behind  every  tale  some  hidden  form  of  Vice.  John  Skelton, 
laureate  of  Henry  VII,  the  last  of  the  school  which  called  Chaucer 
master,  while  writing  some  pieces  in  the  romantic  spirit,  yet  is  more 
pleased  to  satirize  follies  and  vices  as  in  h'xs  Bowge  of  Court.  Char- 
acteristic of  the  times  now  that  the  Reformation  was  near  at  hand 
is  the  Ship  of  Fools  (1508),  a  satirical  allegory  after  the  model  of 
Brandt's  Swabian  poem,  by  Barclay  who  caught  up  for  the  purpose 
of  satire  the  idea  of  a  navy  of  practical  vices  sailing  out  presum- 
ably into  the  ocean  of  ruin.  Erasmus  in  a  corresponding  spirit 
wrote  his  satirical  Praise  of  Folly.  The  allegory  of  the  Reformation 
culminates  at  length  in  Bunyan's  Visions. 

To  this  now  primary  and  now  secondary  stream  of  moral  and 
allegorical  literature  Lydgate's  Assettibly  of  Gods  belongs.  This  is 
not,  however,  satirical  or  very  serious  concerning  reform,  and  it 
strives  after  certain  effects  of  the  Romauiit  of  the  Rose.  But  so 
far  as  Lydgate  is  concerned  the  romantic  tide  has  ebbed  —  he  is  a 
monk  with  the  interest  of  the  church  at  heart. 

10.  The  Relationship  betivccn  the  Allegory  and  the  Aloral  Play. — 
The  close  relationship  between  the  moral  plays  and  the  Assembly  of 
Gods  is  clearly  seen.  In  an  earlier  period' such  poems  ns  the 
Cursor  Mundi  and  the  contemporarv  miracle  plavs  exactly  corre- 
sponded, the   only   difference   being   that   one  was   recited   and   the 

'  It  is  conjectured  with  good  reasons  that  the  demon  frolics  in  Dante's  Ivfcruo, 
c.  xxi  and  xxiv,  were  reproduced  from  some  dramatic  mystery  plavs  of  which  the 
performances  on  the  Ponte  Carraia  at  Florence  in  1304  are  conspicuous  instances 
(Plumptre). 


Ixii  The  Allegory  and  the  Moral  Play. 

other  acted.     The  same  correspondence  existed   later  between  the 
moral  plays,  which  represented  the  natural  dramatic  evolution  from 
the  miracle  plays,  and  the  allegories,  which  exhibit  a  like  advance  in 
dramatic  expression.     This  interaction   between   the   two  forms  of 
art  is  important  to -observe.     The   moral   play  involved  allegory  as 
an   essential   part   of  its  artistic    apparatus.      In   the  very   earliest 
pageants  and  plays,  allegorical  characters,  taken  from  both   profane 
and   sacred   writings,  played   a  more  or   less  important  part.     The 
miracle  plays  required  the  introduction  of  such  characters  as  Sin 
and  Death,  Faith,  Hope  and  Charity.     Among  the  first  innovations 
were  representations  of  Veritas,  Justitia,  Pax  and  Misericordia,  as  in 
the  "Parliament  of  Heaven"  in  the  English  Coventry  series  (XI). 
As  early  as  Henry  \T.,  whose  reign  may  be  fixed  upon  as  the  epoch 
of  the  permanent  adoption   of  the  moral  play  (Collier,  A>i.  of  the 
St.,  p.   32),  personification  of  the  Sciences,  Nature,  Grace,  Fortune, 
and  the  moral   qualities  was  well  known.     The  World,  Flesh  and 
Devil  appeared  in  character  in  Originale  de  Sancta  Maria  Magdalena, 
a  play  of  the  time  of  Henry  VII.     The  play  of  Everyman,  belong- 
ing perhaps  to  the  time  of  Edward  IV.,  is  one  of  the  most  perfect 
allegories   ever  given   form.     In  the  Vices  and  Virtues  especially 
there  was  something  inevitably  dramatic  in  the  very  nature  of  con- 
trast.    So  that  with  few  exceptions  the  allegorv  of  the  Moral-plays 
is  based  on  the  contest  between  good  and  evil  in  the  mind  of  man ; 
of  this  character  is  the  allegory  of   the  Castle  of  Perseverance,  Min 
Will  and  Understanding,  Nature,   The    World  and  the  Child,  Hick- 
'  Scorner,  Everyman,  Lusty  Jiiventus,  etc.    It  is  probable  indeed  that 
the  one  allegorical  figure  Vice,  in  his  Protean  character  of   Infidel- 
ity, Iniquity,   Hvpocrisy,  Desire  and  the   like,  has   played    a   more 
conspicuous   part  ujion   the  stage  than  anv  other  single  dramatic 
personage. 

Thus  the  familiar  use  of  allegorical  personages  upon  the  stage 
contributed  to  the  popular  taste  for  allegorical  poems.  The  names 
representing  abstract  qualities  recalled  so  vividly  the  actual  persons 
seen  upon  the  stage  that  the  mere  recitation  of  the  qualities  was 
sufificient  to  body  forth  the  form.  The  catalog  of  names  in  the 
Assembly  of  Gods  is  tedious  enough  to  the  modern  reader,  but  in  an 
age  of  objective  dramatic  presentation  the  names  and  persons  were 
intimately  associated. 

The  Assembly  of  Gods  finds  its  analogue  then  in  the  contempo- 
rary Moral-plays.     The  poem  may  actually  be  divided  into  scenes 


77/1?  Allegory  of  the    Vices  and  Virtues.  Ixiii 

and  i\iQ  perso)i(e  speak  in  character.  Some  portions,  as  the  assem- 
bly of  the  gods  and  the  gathering  of  the  different  hosts,  might  take 
the  form  of  a  masque.'  Poem  and  play  differ  only  in  the  method  of 
presenting  the  same  form  of  thought. 

The  dramatic  cast  of  the  poem  might  well  be  expected  in  the 
case  of  Lydgate,  who  seemed  as  well  able  to  direct  a  street  pageant 
as  to  write  verses  in  a  cloistre.  He  devised  pageants  for  the  Mer- 
cers' and  Goldsmiths'  Companies  in  honor  of  Wm.  Estfield,  who 
was  London's  mayor  in  1429  and  1437  (v.  Diet.  Natl.  Biog.,  XXXIV, 
p.  306).  Stowe  in  his  Ainials  of  England  i(^.  385)  witnesses  that  in 
T445,  at  the  reception  in  London  of  Queen  Margaret,  the  wife  of 
Henry  VL,  several  pageants  were  exhibited  at  Paul's  gate  with 
verses  written  by  Lydgate  (v.  Hist.  Eng.  Pageants,  ed.  Howes,  p. 
385;  Fur  le  Roy,  M.  P.).  According  to  Ritson  {Bibl.  Poet,  p. 
79)  Lydgate  wrote  a  Disguising  or  Mumming  before  the  King  at 
Eltham.  Ritson  also  inserts  in  his  list  of  Lydgate's  works  "a  pro- 
cession of  pageants  from  the  creation."  This  is  exceedingly  doubt- 
ful, for,  as  Halliwell  says  (M.  P.  p.  94),  Ritson  only  copied  from 
Tanner,  whose  conjecture  it  was  that  the  Coventry  Series  of  Miracle 
Plays  was  written  by  Lydgate.  But  the  Processioun  of  Corpus  Christi 
(title  given  by  Shirley),  attributed  by  Ritson  to  Lydgate  and  so 
printed  by  Halliwell,  while  not  dramatic  in  form,  contains  an  enu- 
meration and  description,  as  if  in  procession,  of  Patriarchs  and 
Saints  from  Adam  to  Thomas  Aquinas.  The  Dance  of  Death  and 
the  Pilgrimage  of  the  JVorld  are  essentially  dramatic.  The  dramatic 
element  of  Bycorne  and  Chichevache,  which  was  doubtless  borrowed 
from  a  French  mystery  play,^  is  also  worthy  of  note.  Certainly  not 
the  least  excellence  of  the  Assembly  of  Gods  is  its  dramatic  pictur- 
esqueness.  It  was  this  characteristic  which  Collier  noted  that  he 
remarked  "the  story  is  very  dramatic,  and  far  less  dull  than  most 
pieces  of  the  kind"  {An.  of  the  St.  p.  31). 

II.  The  Allegory  of  the  Vices  and  Virtues.  —  In  considering  the 
central  allegory  of  the  Assembly  of  the  Gods  the  reader  is  brought 
into  relation  with  one  of  the  great  themes  of  literature,  the  almost 
universal  subject  of  war,  the  war  that  proceeds  within  the  soul  — 

'  It  seems  to  be  well  established  that  the  English  masque,  and  the  pageants, 
derived  their  popularity  and  meaning  from  the  allegorical  poems  and  plays. 
Dunbar's  Dance  of  the  Sins  is  a  masque  in  form.  The  Dance  of  Death  was  a 
graveyard  processional. 

'  See  Dodsley's  Old  Plays,  XII.  p.  302. 


Ixiv  The  Allegory  of  the    Vices  and   Virtues. 

how  man  battles  through  trials  and  temptations  to  heaven's  gate, 
how  he  falls  oft  but  rises  again,  how  he  wins  at  length  the  victory  over 
Sin  and  Death.  This  is  in  truth  the  dominant  allegor}'  of  man. 
So  universal,  indeed,  is  the  treatment  in  the  literature  of  Christen- 
dom of  the  theme  of  man's  salvation  that  the  collected  volumes  of 
that  literature  may  be  said  to  constitute  a  veritable  Epic  of  Penance. 
For  note  how  often  in  great  literatures,  in  the  works  of  Dante,  Lang- 
land,  Chaucer,  Spenser,  Bunyan,  Goethe,  Tennyson  and  Browning, 
to  name  the  greatest,  the  real  content  of  life  is  described  in  the 
terms  of  pilgrimage  and  battle  —  the  life  that  in  the  Middle  Age 
was  in  very  fact  a  Crusade  and  a  Tournament,  an  ascent  up  the  ISIount 
of  Purgatory,  that  was  in  Reformation  times  a  Pilgrim's  Progress 
and  a  Holy  War,  that  is  still  a  "  War  of  Sense  with  Soul,"  where  the 
obligation  never  ceases  to  "Fight  on,  fare  ever."  The  literature  of 
this  struggle,  wherein  not  only  the  soul  of  man  is  involved  but  also 
the  spiritual  powers  beyond  our  world,  where  Earth  and  Heaven  and 
Hell  are  mingled  in  contest,  constitutes  in  its  entirety  the  most  stu- 
pendous epic  which  the  genius  of  man  has  conceived. 

In  some  form  the  subject  is  older  than  Christianity.  War  itself  is 
a  primitive  theme.  The  heathen  myths  pictured  the  agents  of  nature 
as  engaged  in  warfare,  the  healing  and  harmful  forces,  the  Light  and 
the  Darkness,  the  Summer  and  the  Winter,  the  sun-gods  and  the 
frost-giants.  In  one  of  the  earliest  of  historic  religions,  Zoro- 
asterism,  the  idea  of  antagonism  in  the  moral  life  occurs,  the 
contest  between  the  Prince  of  Light  and  the  Prince  of  Darkness 
being  figured  upon  the  earthly  sphere.  On  the  spiritual  side 
Plato's  myth  of  the  contending  steeds  is  again  a  record  of  the  primi- 
tive soul.  Thus  the  necessity  has  been  laid  on  man  from  the  first 
of  "working  out  the  beast"  and  "letting  the  ape  and  tiger  die." 
It  is  true  that  Christianity  brought  into  greater  j)rominence  the 
need  of  warfare.  "■Estate  fortes  in  beUo  et  piigiiato  cum  antiquo 
serpente'' — thus  the  Scriptures  exhorted  the  Christian  convert  to 
the  fearful  battle  against  sin.  Then  when  paganism  came  in 
contact  with  Christianity  the  terms  of  war  and  of  military  society 
were  naturally  applied  to  the  new  life  and  to  the  kingdom  of 
Heaven.  Christ  was  King.  His  apostles  were  thegns  who  went 
forth  to  the  wars.  With  the  spiritual  conceptions  of  tlie  new 
gospels  was  mingled  the  mythology  which  dealt  with  the  war- 
fare of  Nature.  The  conflict  between  Day  and  Night  was  trans- 
ferred to  Christ  and  Satan,  to  Eternal  Light  and  Eternal  Darkness. 


The  Allegory  of  the    Vices  and   Virtues.  Ixv 

Chivalry,  gathering  from  paganism  all  that  was  best  in  war,  strength, 
prudence,  courage,  knightly  honor,  and  from  Christianity  an  ideal 
of  spiritual  perfection,  now  became  the  established  principle  of 
society,  a  society  that  received  its  personal  ideal  in  the  figure  of 
King  Arthur  and  its  social  ideal  in  the  Order  of  the  Round 
Table. 

While  society  itself  was  thus  being  organized  in  accordance  with 
the  ideal  of  militant  Christianity,  the  severest  of  spiritual  battles 
were  being  fought  out  within  the  cloisters  of  the  monks.  A  severer 
morality  was  naturally  exacted  from  the  monks  than  from  the  ordi- 
nary Christian.  It  was  then  within  the  monasteries  of  the  third  and 
fourth  centuries  that  the  "  Olympian  battle  with  Sin  "  began.  By 
Ambrose  (340-397)  and  his  pupil  Augustine  (354-430)  the  Platonic 
virtues  called  "cardinal,"  Wisdom,  Justice,  Fortitude,  and  Temper- 
ance, were  resolved  into  Christian  graces.  To  these  were  added  the 
triad  of  theological  virtues.  Faith,  Hope  and  Love.  Against  these 
seven  were  arrayed  for  the  trial  of  the  saints  seven  deadly  sins.  Pride, 
Avarice,  Anger,  Gluttony,  Lust,  with  two  others  selected  from  Envy, 
Vain-glory,  Tristitia  or  Accidia.  An  intense  and  concentrated 
struggle  against  human  weakness  was  thus  set  on  foot.  On  the  basis 
of  these  sins  a  penitential  system  was  devised,  some  form  of  pil- 
grimage up  the  mount  of  Purgatory. 

By  the  time  that  Dante  wrote  his  Comedia  the  exactions  of 
monastic  virtue  were  enforced  upon  all  the  children  of  the  Church 
and  a  penitential  pilgrimage  enjoined.  In  the  Inferno  a  classifica- 
tion of  the  sins  is  given  as  found  in  the  Summa  Tlieologica  of  St. 
Thomas  Aquinas,  which  is  based  upon  the  ethical  principles  of  Aris- 
totle as  interpreted,  probably,  by  Averrhoes.  Sin,  having  been  tri- 
umphant, is  come  to  punishment  in  Hell  according  to  what  Dante 
calls  the  law  of  "contrapass"  [retribution]  {Inferno  xxviii,  142.). 
But  in  Purgatory  sin  is  not  allowed  to  develop  into  act  but  appears 
as  an  inner  incitement.  It  is  shown,  therefore,  not  as  punishment 
but  as  recreation  where  struggle  must  enter,  the  will  for  holiness 
being  victorious. 

"And  I  will  sing  that  second  realm  instead, 
Wherein  man's  spirit  frees  itself  from  stain, 
And  groweth  worthy  Heaven's  high  courts  to  tread." 

—Purs:.  11.  4-6. 

For  this  purpose  Dante  employed  the  popular  penitential   system 
of  the  Church  which  brought  into  prominence  the  necessity  of  dis- 


Ixvi  The  Allegory  of  the    Vices  and   Jlrtues. 

cipline  by  struggle  against  sin  in  the  pilgrimage  of  this  world.  Thus 
the  various  stairs  of  Penitence  are  named  after  the  seven  monastic 
moralities. 

When  Dante  is  resting  on  the  fourth  terrace  of  Purgatory, 
Virgil  explains  to  him  the  nature  and  relation  to  each  other  of 
the  seven  mortal  sins.  He  is  explaining  the  teachings  of  St.  Augus- 
tine and  considers  sin  with  respect  to  its  causes.  Love  is  the 
common  ground.  Love  perverted  by  selfishness  and  erring  in  its 
object  is  pride,  envy  and  anger.  Love  remiss,  defective  in  vigor, 
is  sloth.  Love  excessive  is  avarice,  gluttonv  and  lust.  (So  earlier 
Augustine  defined  virtue  as  amor  onlinatus,  vice  as  amor  no)i  ordi- 
natiis  {Civ.  D.  XV.  221).  Sin  is  mortal  because  it  attacks  the 
conditions  of  spiritual  life,  preventing  in  societv  the  exercise  of 
love.  Pride  is  the  most  deadly,  nearest  therefore  to  the  state  of 
hell,  because  it  strikes  directly  at  love  and  hinders  to  the  utmost 
the  soul's  higher  life. 

The  current  ethics  of  the  church  during  the  thirteenth  and  four- 
teenth centuries  respecting  the  nature  of  the  vices  is  also  contained 
in  a  poem  entitled  Septem  Peccata  Mortalia,  of  doubtful  authorship 
but  ascribed  bv  some  (Witte,  Krafft  and  others)  to  Dante. 

"  In  Pride  the  root  of  every  sin  doth  lie  ; 

Hence  man  himself  doth  hold  in  loftier  fame 
Than  others,  and  deserving  lot  more  high. 
Envy  is  that  which  makes  us  blush  for  shame, 

With  grief  beholding  others'  happiness, 
Like  him,  whom  we  the  face  of  God  proclaim. 
Wrath  still  more  woe  doth  on  the  wrathful  press, 

For  its  fierce  mood  lights  up  hell's  fiery  heat; 
Then  ill  deeds  come,  and  loss  of  holiness. 
Sloth  looks  with  hate  on  everv  action  meet. 

And  to  ill-doing  ever  turns  the  will. 
Is  slow  to  work,  and  quick  to  make  retreat. 
Then  Avarice  comes,  through  which  the  whole  world  still 

Vexes  its  soul,  and  breaks  through  everv  law. 
And  tempts  with  gain  to  everv  deed  f)f  ill. 
Both  fool  and  wise  foul  Gluttony  doth  draw. 

And  he  who  pampers  still  his  appetite, 
Shortens  his  life,  to  fill  his  greedv  maw. 
And  Lust  that  comes  the  seventh  in  order  right, 

The  lionds  of  friendship  breaks  and  brotherhood, 
At  variance  still  with  Truth  and  Reason's  light." 

— Trans,  by  Plumptre,  II.,  p.  324. 


The  Allegory  of  the    Vices  and   Virtues.  Ixvii 

In  tracing  now  in  literature  this  allegory  of  life  we  are  led  back 
to  a  favorite  classic  of  the  dark  ages,  the  Psycho7nachia  of  Prudentius, 
the  work  of  a  Christian  poet  who  flourished  during  the  early  part  of  '^ 
the  fifth  century,  who  is  best  known  to  the  modern  world  for  his 
Hymns,  repeated  editions  of  which  were  issued  during  the  fifteenth, 
sixteenth  and  seventeenth  centuries. 

The  Psychomachia^  (Migne,  Patrol.  Ser.  L.  Vol.  60),  written  in 
hexameters  in  ecclesiastical  Latin,  represents  allegorically  the  con- 
flict between  the  vices  and  virtues  for  the  soul  of  man.  The  poem 
is  an  expansion  of  an  earlier  work  by  the  same  writer  entitled 
Hamartigenia  (Migne,  Patrol.,  Vol.  59,  p.  1007)  which  is  theological 
in  character,  an  explanation  of  the  origin  of  evil  in  refutation  of 
the  heresies  of  the  day,  notably  that  of  Marcion,  the  dualist.  The 
Psychomachia  is  an  expansion  of  a  portion  of  the  Hamartigenia, 
where  Anger,  Superstition,  Sadness,  Strife  and  Luxury,  war  against 
the  soul.  The  allegory  in  the  later  poem  is  carried  out  into  great 
detail,  being  intended  to  represent  the  successive  stages  of  Christian 
conflict  amid  the  temptations  of  the  world.  A  first  struggle  is  neces- 
sary to  overcome  the  worship  of  the  pagan  gods  and  to  become  a  Chris- 
tian. The  next  conflicts  occur  between  Chastity  and  Lust,  and  between 
Patience  and  Wrath,  resulting  in  victory  for  the  virtues.  Pride  then 
attacks  Humility,  Righteousness,  Temperance,  Fasting,  Shame  and 
Simplicity.  But  a  pit  is  dug  for  Pride  by  Treachery  and  by  Hope 
the  vice  is  slain.  Then  comes  the  battle  between  Luxury, 'who  is 
driven  in  a  chariot  bv  Love  scattering  flowers,  and  Temperance  who 
bears  the  standard  of  the  cross.  These  Desires  having  been 
vanquished  Avarice  with  her  train  appears  and  attacks  the  Christian 
under  the  guise  of  Frugality,  but  Almsgiving  rescues  the  soul. 
The  last  battle  is  with  Heresy,  who  is  slain,  and  the  soul  is  at 
peace. 

For  the  popular  theological  confirmation  of  such  a  warfare  one 
may  turn  to  St.  Augustine's  City  of  God,  the  latter  part  of  which  was 
contemporary  with  the  Psychomachia  and  written  perhaps  with  the 
poem  in  mind.  The  19th  Book  of  the  City  of  God  rQweaXs  the  dis- 
cords between  the  heavenly  and  earthly  cities  and  in  the  tenth 
chapter  announcement  is  made  of  the  rewards  prepared  for  the 
saints:  "There  the  virtues  shall  no  longer  be  struggling  against 
any  vice  or  evil  but  shall  enjoy  the  reward  of  victory,  the  eternal 
peace  which  no  adversary  shall  disturb." 

'Cf.  Hist,  of  Latin  Lit.,  G.  A.  Simcox,  II.,  p.  360. 


Ixviii  The  Allegory  of  the    Vices  and  Virtues. 

The  Psychomachia,^  sanctioned  by  the  usages  and  doctrines  of  the 
church,  became  the  model  for  a  series  of  poems,  generally  moral 
and  didactic  in  motive,  called  variously  Bataille,  Debat,  Tournoie- 
ment,  Disputoison  and  Pelerinage  (v.  Lit.  Fr.  an  Moyen  Age,  par 
Gaston  Paris,  pp.  158,  159,  169,  227,  228).  Among  the  later  works 
of  this  class  are  the  Anticlaudianiis  (12th  century)  by  Alanus;  Debat 
du  corps  ct  d  r ame  (i  2th  century);  Toiirnoiement  d'  Antcchrist  (i  235) 
by  Huon  de  Meri,  which  contains  the  battle  between  the  Vices  and 
Virtues  under  the  leadership  of  Antichrist  and  Christ  respectively; 
Pelerinage  de  la  vie  hiimainc  (1330-5),  by  Guil.  De  Deguilville,  a 
favorite  work  in  England  and  the  prototype  of  Bunyan's  Pilgritn's 
Progress;  certain  of  the  Bestiares  which  satirize  the  vices  of  the 
time,  as  the  Renart  le  Nouvel  (1288),  by  Jacquemart  Gielee,  the 
animals  of  which,  attacking  the  holy  castle  Maupertius,  fight  like  the 
seven  deadly  sins  with  which  they  are  for  the  first  time  mixed ; 
episodes  also  found  in  the  love  poems,  that  series  of  Ars  d'Amour 
which  ended  with  the  Roman  de  la  Rose,  as  the  battle  for  the  rose 
in  the  Roman  {Lit.  Fr.  G.  Paris,  p.  169). 

Typical  of  these  mediaeval  works  that  deal  with  the  war  of  the 
vices  and  virtues  is  the  Anticlaudianiis,  sire  de  Officio  Viri  Boni  et 
Perfecti,''  one  of  the  most  important  books  of  the  period,  and  one 
familiar  to  Lydgate  and  his  fellow  monks.  It  was  written  by 
Alanus  de  Insulis,  during  the  second  half  of  the  12th  century,  to 
oppose  an  invective  of  Claudian  against  Rufinus,  the  prime  minister 
of  Theodosius  the  Great,  who  was  represented  as  the  embodiment  of 
all  that  is  vicious,  having  been  perverted  by  all  the  passions  of  hell. 
The  poem  is  well  summarized  by  Mr.  Steele  in  his  edition  of 
Lydgate's  Secrees  (note,  p.  109)  whose  outline  is  here  quoted. 

"Nature,  perceiving  its  failure  in  bringing  about  perfection, 
decides  to  join  in  one  being  all  the  virtues  and  excellences  possible. 
She  therefore  summons  all    these  allegorical   personages,  and   lavs 

'The  De  Consolatione  Philosophitr  by  Boethius  may  be  mentioned  as  one  other 
source  of  the  battle  motif.  A  French  version  of  a  part  of  this  work  is  found  in  a 
poem  called  De  Fortune  et  de  Felicite  which  is  said  by  Warton  (II,  p.  216)  to  be 
the  source  of  the  Totirnoyement  de  f  Antichrist  (c.  1228)  by  Huon  de  Meri,  which 
contains  a  combat  of  the  Vices  and  Virtues ;  this  latter  work  was  employed  by 
Langland  for  the  battle  scene  of  the  Antichrist  at  the  close  of  Piers  the  Plotuman 
(Skeat).  Gaston  Paris,  however,  thinks  that  most  of  these  scenes  of  moral  war- 
fare may  be  referred  to  the  Psychomachia. 

"v.  Migne,  Patrol,  t.  210,  or  Ang!o-Lat.  Satir.  Poets,  Roll's  Series,  ed.  Wright. 
Cf.  Lounsbury's  Chaucer  Studies,  II,  p.  348. 


The  Allegory  of  the    Vices  and  Virtues.  Ixix 

before  them  her  plan.  Prudence  (Phronesis)  and  Reason  remark 
that  none  of  them  can  give  to  man  the  highest  of  all  gifts — a  soul, 
and  that  they  must  ask  it  from  God.  This  mission  is  imposed  on 
them  ;  they  at  first  refuse  it,  but  Concord  gets  them  to  accept  it.  A 
car  is  made  for  them  by  the  seven  liberal  arts,  to  which  five  horses 
representing  the  senses  are  yoked.  Grammar  lays  the  framework, 
Logic  makes  the  .axles  of  the  wheels,  Rhetoric  adorns  the  frame  with 
gems  and  flowers  of  silver,  Arithmetic,  Music,  Geometry  and 
Astronomy  make  the  wheels,  and  Reason  drives  the  chariot. 

"They  pass  through  the  air,  the  clouds,  the  home  of  the  evil 
spirits  of  the  air,  the  spheres  of  the  planets,  and  arrive  at  the  firma- 
ment, when  Reason  faints  and  the  senses  become  useless.  Theology 
appears,  and  on  the  condition  that  Reason  and  the  senses — except 
that  of  hearing — are  abandoned,  offers  to  guide  Phronesis.  The 
firmament,  the  empyrean  heavens,  the  dwellings  of  saints,  angels, 
and  the  Mother  of  God  are  next  described.  Here  Prudence  faints, 
but  Faith  revives  her,  and  explains  the  mysteries  of  human  destiny, 
grace,  etc. 

"God  now  orders  Intelligence  to  frame  a  model  of  a  soul  such  as 
was  asked  for,  and  making  it,  it  is  sent  to  Nature,  who  makes  a  body 
which  Harmony,  Music  and  Arithmetic  fit  for  and  join  to  the  soul. 
All  the  allegorical  divinities  add  a  gift — even  Nobility  and  Fortune 
bring  theirs — which  Wisdom  checks  and  moderates. 

"But  Hell  learning  of  this  new  creation  resolves  to  destroy  it, 
and  Allecto  unites  all  the  vices  against  it.  After  a  long  battle  the 
new  man  puts  them  all  to  flight,  and  inaugurates  upon  the  earth  the 
reign  of  Justice  and  Happiness." 

The  English  books  of  Penance  are  many  in  number.  Among 
the  theological  works  in  prose  which  treat  in  whole  or  in  part  the 
subject  of  the  vices  and  virtues  there  are  to  be  mentioned  especially 
a  Homilv  by  yElfric  (Thorpe's  ed.  ^Ifric  Soc.  H,  p.  219),  Old 
English  Homilies  (E.  E.  T.  ed.  Morris),  the  Ancren  Riwle  (Morton's 
ed.  p.  198-204),  Dan  Michel's  Ayenbite  of  Inwyt  (Morris'  ed.  p.  16), 
Vices  and  Virtues  (E.  E.  T.  ed.  Holthausen),  Dan  Jolm  Gavtrvge's 
Sermo)i  on  Shrift  and  the  Mirrour  of  St.  Edmund  {Relig.  P.  ed. 
Perry,  p.  i,  15),  a  sermon  by  Wyclif  (Works  ed.  by  Arnold  HI.,  p. 
225)  and  Chaucer's  Persones  Tale.  Among  the  religious  pieces  in 
verse  which  treat  the  theme  are  Aldhelm's  Dc  Octo  Principalibus 
Vitiis  (in  Latin,  Migne,  Patrol.  Ser.  Lat.  89,  p.  282),  the  book  of 
Penance  added   to   the   Cursor  Alundi  (E.   E.   T.   pt.   V.,  p.    1524 


Ixx  The  Allegory  of  the    Vices  and  Virtues. 

et  seq.),  verses  in  Religious  Pieces  and  in  Political  Religious  and  Love 
Poems  (E.  E.  T.  ed.  Furnivall,  p.  215),  the  Matiuel  of  Sins,  translated 
from  a  work  by  Bishop  Grosseteste  by  Robert  Mannyng,  tracts  in 
the  Vernon  MS.  (ed.  Horstmann,  E.  E.  T.)  entitled  How  to  Live 
Perfectly  No.  XXXII.)  and  The  Spur  of  Love  (No.  XXXV.),  being 
translations  from  the  popular  Speculum  of  Edmund  Rich,  in  the 
same  MS.  the  Dispute  Between  a  Good  Man  and  the  Devil  (No. 
XXXVII.),  The  Mirrour  of  the  Periods  of  Man' s  Life  \Xi  Hymns  to 
the  Virgin  and  Christ  (E.  E.  T.  ed.  Furnivall,  p.  5S),  and  a  poem 
by  William  de  Shoreham  entitled  De  Septcfii  Mortalibus  Peccatis 
(Percy  Soc,  Vol.  28,  p.  102),  etc. 

These  treatises  set  forth  the  common  theory  of  ethics  as  taught 
by  the  Latin  Church.  In  classification  and  definition  of  the  principal 
vices  and  virtues  the  works  generally  accord.  There  is  occasional 
difference  in  the  number,  in  the  order  of  mention  of  the  cardinals 
and  in  the  names  and  number  of  the  "branches"  which  spring 
from  the  parent  stems. 

The  English  Benedictine  monks,  following  the  older  continental 
system,  enumerate  eight  principal  vices  and  virtues.  ^Ifric  (Hom. 
ed.  Thorpe,  Vol.  II,  p.  219)  sets  in  opposition,  on  the  one  hand  the 
vices  gifernys  (greediness),  galnyss  (lust),  gitsung  (covetousness), 
weamet  (anger)  unrotnys  (discontent),  asolcennys  oddit  semelnys 
(sloth  or  aversion),  idel  gylp  (vain-glor)-),  and  modignys  (pride) ; 
on  the  other  hand  the  healing  virtues  gemetegung  (moderation), 
claennys  (chastity),  cystignys  (bounty)  gedyld  (patience),  gastlicer 
blis  (ghostly  joy),  anrasdnys  (steadfastness),  lufe  (love)  and 
eadmodnys    (humility). 

In  the  mediaeval  treatises  the  number  of  each  class  is  regularly 
seven.  The  classification  in  the  Parable  of  the  Castle  of  Love  in 
the  Cursor  Mundi  (\\.  10040-10052)  is  the  following:  })ride,  envie, 
glotony,  lust,  gredines,  wreth,  hevynes,  with  the  corresponding 
virtues,  buxumnes,  charite,  abstinens,  chastite,  liberality,  mekenes, 
and  gostly  gladnes.  In  the  Cursor  Mundi's  Book  of  Penance  the 
list  is  :  pride,  envy,  wra/,  slau^e,  couatyse,  glotori  and  drunkenhede, 
licherv;  and  mekeness,  loue,  thalmodenes,  gastely  ioy,  lele  of  hert 
and  fre  of  gvft,  abstinence  and  sobirte,  chastite. 

The  Aycnbite  of  Inwyt  has  in  one  place  (p.  16  and  123)  prede, 
envye,  wre/e,  sleau^e,  icinge  (avarice)  couaytise,  glotounye,  lecherie  ; 
and  for  virtues  the  Pauline  triad  of  beleave,  hope  and  charite,  and 
the  cardinals  of  the  "yealde  philosofes"  sley^e  (prudence)  temper- 


The  Allegory  of  the    Vices  a>id   Virtues.  Ixxi 

ance,  streng^e,  and  dom  (justice);  in  another  place  (p.  159) 
prede,  enuye,  felhede  (hate),  slacnes,  scarsnes,  lecherie,  glotounye 
and  boysamnes  (humility)  loue,  mildenes,  proues,  larges,  chastete, 
sobrete. 

In  the  Mirrour  of  St.  Edmund  occur  pryde,  envy,  ire,  slouth, 
couetyse,  glotony,  lechery  ;  and  wysdom,  vndirstandynge,  consaile, 
stalworthenes,  cunnynge,  pete,  drede  of  Godde,  four  of  which  are 
said  to  be  needful  for  the  active  life  and  three  for  the  contempla- 
tive life.  Dan  Jon  Gaytryge's  sermon  recounts  the  regular  vices 
and  for  virtues,  trouthe.hope  and  charyte,  the  theological  virtues,  and 
ryghtwysenes,  sleghte  (prudence),  strenghe,  and  methe  (temper- 
ance), the  natural  virtues.  The  Latin  titles  occur  in  Gyf  me 
Lysens  to  Lyve  in  Ease  {Fol.,  Rel.,  and  Love  P.  E.  E.  T.  ed.  Furn- 
ivall  p.  215)  superbia,  invidia,  ira,  avoryssia,  accidia,  gula,  luxuria, 
with  the  corresponding  umylitas,  carytas,  amor  cum  paciencia,  vigi- 
late  et  orate,  elymosina,  abstinaunce,  chastite.  In  the  tract  How  to 
Live  Perfectly  (Vernon  MS.  E.  E.  T.  No.  32)  the  remedies  for  sin 
are  the  Seven  Blessings  of  the  Gospel  and  the  medicine  for  the  sins 
are  Wisdom,  Understanding,  Strength,  Counsel,  AVit,  Pity,  Fear  of 
God. 

Chaucer's  list  in  the  Personcs  Tale  is  pride,  envye,  ire,  accidie, 
avarice,  glotenye,  leccherie ;  and  humilite,  love,  mansuetude  and 
pacience,  strengthe,  misericorde  and  pite,  abstinence,  and  chastite. 
Gower  employs  the  same  classification  in  his  Co/ifessio  Amantis. 

The  most  original  treatise  on  the  theme  is  perhaps  Wyclif's  tract 
on  the  Seven  Deadly  Sins  {Works,  ed.  Arnold  III,  p.  119).  The 
cardinals  are  the  conventional  ones  but  the  condemnation  of  the 
practical  sins  of  the  clergy  and  people  is  from  the  Lollard  point  of 
view.  The  sins  have  this  origin:  " /5e  fende,  and  ^o  worlde,  and 
monnis  owne  flesche,  stiren  hvm  to  couyte  ageynes  God's  wille.  And 
so  ich  one  takes  at  other,  and  ^ese  make  seven.  Pride,  envye,  and 
wrath  ben  synnes  of  po  fende  ;  wrathe,  slouthe,  and  avarice  ben 
synnes  of  pQ  world ;  avarice,  and  glotenye,  and  po  synne  of 
lechorye  ben  synnes  of  po  flesche"  (p.  121).  These  are  thus 
defined:  "  Pride  is  wicked  liif  of  a  monnis  hyenesse  ;  "  "  Envye  is 
unordvnel  wille  of  mon  to  his  neghtbore  ; "  "  Wrathe  is  unskillful 
wille  of  vengeaunce ; "  Slouthe  is  "slouthe  in  God's  service;"  Cov- 
etise  is  "avarice  of  worldly  godis  ; "  "  Glutonye  falles  /en  to  mon, 
when  he  takes  mete  or  drink  more /en  profites  to  his  soule  ; " 
"Lechorye  stondis  in  /is  /ing,  /at  mon  mysusis  lymes  or  powers  of 


Ixxii  The  Allegory  of  the    Vices  and  Virtues. 

his  body,  /at  God  haves  ordeyned  unto  men  for  liis  kyndely  gen- 
drure"  (p.  121  ct  seq). 

In  the  more  imaginative  treatises  various  mystical  and  allegorical 
features  appear.  Chaucer's  Parson  pictures  the  life  of  God's  chosen 
as  a  pathway  filled  with  stumbling  blocks.  In  the  Mirrour  of  the 
Periods  of  Man' s  Life  a  man  is  tempted  from  birth  to  age.  In  Gyf 
me  Lyscns  to  Lyvc  in  Ease  the  sins  are  as  wounds  to  be  healed  by 
medicines  in  the  form  of  plasters  and  herbs,  the  remedial  virtues. 
In  Piers  the  Plon'mau  the  sins  are  the  muck  with  which  Haukvn,  the 
active  man,  has  soiled  his  coat  (Pas.  xiii).  Often  sin  is  described 
as  a  tree  with  branches  and  twigs  as  in  \\i^  Ayenbite  of  Inwyt.  When 
personified  the  sins  may  come  as  warriors  in  armor  on  horse  or  a 
foot,  as  in  the  Parable  of  the  Castle  of  Love  in  the  Cursor  Mundi,  or 
as  in  Lydgate's  Assembly  of  Gods,  Spenser's  Faery  Queene,  Fletcher's 
Purple  Island  and  Bunyon's  Holy  War.  In  the  moral  play, 
The  World  and  the  Child,  the  vices  are  exhibited  as  seven  kings. 
Chaucer  in  the  "A  B  C"  laments  that  he  is  chased  bv  "theves 
seven."  Dunbar  pictures  the  sins  as  dancers  down  in  hell.  Gower 
assigns  the  vices  to  a  lover.  Langland  describes  the  virtues  as 
"sisters,"  Pride  alone  among  the  vices  being  personified  as  a  woman. 
Dan  Michel  declares  Pride  to  be  the  devil's  own  daughter.  In  the 
Sawles  Warde  the  cardinal  virtues  are  the  daughters  of  the  lord  of 
the  house.  In  the  Ancren  Riwle  each  sin  is  symbolized  bv  an  ani- 
mal :  Pride  by  a  Lion,  Envy  by  an  Adder,  Wrath  by  a  Unicorn, 
Lechery  by  a  Scorpion,  Avarice  by  a  Fox,  Gluttony  bv  a  Sow, 
Sloth  by  a  Bear.  The  Ayenbite  of  Inwyt  presents  most  mystical 
features  :  St.  John  in  a  vision  saw  a  beast  come  out  of  the  sea  having 
a  leopard's  body,  a  bear's  feet,  a  lion's  throat,  and  it  had  seven 
heads  and  ten  horns.  This  beast,  explains  Michel,  betokeneth  the 
devil  who  cometh  from  the  sea  of  hell;  its  guile  is  denoted  bv  the 
leopard's  spots,  his  strength  bv  the  bear's  feet,  his  cruelty  by  the 
lion's  throat.  The  seven  heads  are  the  seven  deadly  sins  and  the 
ten  horns  the  guilts  of  the  commandments. 

Without  exception  these  writings  accord  in  assigning  to  Pride 
the  first  place  among  the  sins.  Pride,  said  ..^Ifric,  is  "  ord  and  ende 
selces  yfeles  :  se  geworhte  englas  to  deoflum  and  celcre  synne  anginn 
is  modignys."  Pride  in  the  Cursor  J/z/z/r// is  the  chief  sin  that  fights 
against  Love  :  it  is  said  that  Lucifer  fell  by  pride,  that  it  is  fouler  than 
any  devil  in  hell.  The  Ayenbite  of  Imvyt  pictures  Pride  as  the  devil's 
own  daughter,  the  sin  of  Lucifer  and  the  angels,  the  first  to  assail 


The  Allegory  of  the    Vices  and   Virtues.  Ixxiii 

our  Lord  and  the  last  to  abandon  Him.  In  Gyf  me  Ly sens  to  Lyve 
in  Ease,  Pride  is  the  first  wound  "more  bytter  than  ever  was  gall." 
By  Wyclif  Pride  is  considered  to  be  the  chief  sin,  being  accorded  to 
the  Fiend.  Said  Gower  "Pride  is  the  heaved  of  all  sinne"  (I,  p. 
153).  Barclay,  at  the  beginning  of  the  period  of  the  Reformation, 
wrote  of  Pride  that  it  is 

"  A  vyce  so  moche  abhomynable 
That  it  surmountvth  without  any  fable 
All  other  vyces  in  furour  and  vylenes 
And  of  all  synne  is  it  rote  and  maystres. " 

—  Ship  of  Fools,  II,  p.  159. 

So  Pride  leads  the  dance  of  the  sins  in  hell  in  Dunbar's  poem.  It 
was  the  first  to  receive  punishment  in  the  ShephearcT s  Kalendar.  It 
cast  Satan  and  the  rebel  angels  out  from  heaven  in  Milton's 
Paradise  Lost.     With  Shakespeare  it  appears  as  ambition  : 

"By  that  sin  fell  the  angels."    Henry  VIII,  III,  2,  441. 

The  consensus  of  mankind  seems  then  to  be  written  by  Sir  Thomas 
Browne  that  Pride  is  "the  first  and  father  sin,  not  only  of  man  but 
of  the  devil  ;  a  vice  whose  name  is  comprehended  in  a  monosyllable, 
but    in    its    nature    not    circumscribed   with    a    world    (Works,    II, 

P-  435)- 

Turning  from   the  theological  treatises  on  the  moralities,   and 
taking  up  the  works  of  real  artistic  value  wherein  the  imagination  of 
writers  was  truly  kindled  by  a  perception  of  the  poetic  capacities  of 
the  theme  of  battle  and  pilgrimage,  we  enter  a  most  important  field, 
perhaps  to  be  called,  when  considering  the  actual  epical  and  dramatic  ,' 
development  of  the  theme,  the  most  important  field  in  early  English  I 
literature.     The  many  chivalric  Romances  would  be  included  in  the 
survey,    perhaps  also   the  earlier  Guthlac.      With   a    more  specific 
treatment  is  the  long  series  beginning  with    Bishop    Grosseteste's 
Chateau   d'amour,  which  received  several  translations  at  the  hands 
of  later  writers,  continuing  in  the  parable  of  the  Castle  of  Love  in 
the  Cursor  Mundi,  the  English  Bestiares,  the  Moral-plays,  Langland's 
Piers  the  Plowman,  Gower's  Confcssio  Amantis,  perhaps  the  Romauntof 
the  Rose,  Lydgate's   Assembly  of  Gods,  Hawes's  Pastime  of  Pleasure, 
Dunbar's  Z'a//^^  of  the  Sins,  'Baivclsiy'' s  Ship  of  Pools  and  Mirrour  of 
Good  Manners,  the  anonymous  Shepheard s  Kalendar,  religious  pieces 
of  the  type  of  the  Mirrour  of  the  Periods  of  Man's  Life,  Spenser's 
Faery  Queene,  John  Day's  Peregrinatio  Scholastica,  Bernard's  Lsle  of 
Man,  and,  last  of  these  stirring  allegories,  Fletcher's  Purple  Lsland 


Ixxiv  The  Allegory  of  the    Vices  and   Virtues. 

(1633),  and  Bunyan's  Pilgritn's  Progress  (1678)  and  Holy  War 
(1682). 

In  almost  the  earliest  teaching  on  the  subject  of  sin,  in  yElfric's 
Honiilv  on  Midlent  Sunday  (ed.  Thorpe,  II,  212)  the  Christian  life 
is  described  as  a  warfare.  In  the  homilies  the  word  commonly  used 
for  Virtues  was  niihtaii  {Old-Eng.  Hotn.  I,  p.  105),  it  being  explained 
that  by  God's  helj),  if  fight  were  keen,  the  devilish  sins  would  be 
overcome  (p.  107).'  The  Psychomachia  of  Prudentius  was  known  to 
the  English  monks  as  it  is  referred  to  by  Beda  in  his  De  Ratio)ie 
Metrica  as  the  book  "  quem  de  virtutum  vitiorumcpie  j)ugna  heroico 
carmine  composuit."  There  is  an  echo  of  its  triumph  in  Giithlac 
where  the  hero  meets  in  deadly  combat  with  Satan  and  his  troops  of 
sin-smiths  that  roar  and  rage  like  wild  beasts.  In  the  manner  of 
the  Psychomachia  Aldhelm  wrote  in  Latin  his  De  Octo  Principalibus 
Vitiis  (Migne,  Patrol.  Lat.  Ser.,  89,  p.  282)  arraying  the  opposing 
forces  in  battle  form. 

For  this  warfare  man  was  given  the  gift  of  Power.  This  is 
a  Virtue  described  by  Dan  Michel  {Ayefibite  of  Jnwyt,  p.  i6g)  as 
a  tree  with  seven  boughs  which  betokened  the  seven  battles  that 
the  Christian  must  wage.  This  Christian  battle  is  again  likened  by 
Michel  to  the  gladiatorial  fights  at  Rome,  wherein  those  who  desired 
fame  must  overcome  all  who  are  sent  against  them  by  the  master  of  the 
field  ;  the  holy  Christ  is  the  master  who  suffers  no  one  to  be  tried  above 
his  strength.  Bishop  Grosseteste,  employing  the  chivalric  idea,  figures 
Love  as  a  strong  castle  standing  high  on  a  polished  rock.  The  castle 
is  enclosed  by  four  stone  walls  and  a  deep  moat,  and  fortified 
with  four  towers  and  seven  barbicans.  A  clear,  all  healing  well 
springs  from  the  central  tower.  Within  the  tower  is  a  brilliant 
throne.  Being  interj)reted,  the  castle  is  a  shield  to  the  human  soul. 
The  rock  is  Mary's  heart.  The  four  towers  are  the  cardinal  Virtues, 
Strength,  Skill,  Rightfulness,  and  Temperance.  The  seven  barbicans 
are  the  seven  virtues  that  receive  the  attacks  of  the  deadly  sins.  The 
well  is  Mary's  mercy.  The  throne  is  Christ.  This  figuration,  so 
beautiful  in  its  symbolism,  caught  the  fancy  of  succeeding  writers. 
The  castle  betokens  refuge  and  strength  and  victory.  As  a  symbol 
of  the  Virgin  Mary  it  is  employed  in  the  Cursor  Mundi,  in  the 
Abbaye  of  Say nte  Sprite  {Relig.  Pieces,  ed.  Perry,  E.  E.  T.  p.  49)  in 
a  miracle  play  entitled  Originale  de  Saticta  Afaria  Magdaleiia  (v. 
Collier,  ^/V/.  Dr.  P.  II,  p.  153-6)  and  in  Lydgate's  Life  of  St.  Mary. 

'Virtue  is  also  called  t/iewe  in  Gaytryge's  Sermon,  p.  10. 


The  Allegory  of  tJie    Vices  and   J^irtues.  Ixxv 

In  Langland's  vision  the  tower  on  the  toft,  partly  drawn  from 
Grosseteste's  Chateau  d' amour,  is  the  abode  of  Truth  or  God  the  Father 
(v.  Prol.  1.  14;  Pass.  v.  11.  594  et  seq).  Grace  is  the  doorward  there 
and  seven  sisters  the  porters  of  the  posterns,  Abstenence,  Humilite, 
Charite,  Chestite,  Pacience,  Pees,  and  Largenesse.  Mercy,  or  the 
Virgin  Mary,  mediates  between  the  sinful  ones  at  the  gates  and 
Christ  and  the  Father.  The  chief  battle  in  Langland's  poem  is  that 
waged  against  the  church  of  Unity  (Pass,  xx)  by  Antichrist  and 
seven  giants.  Sloth  and  Avarice  lead  the  assault.  Peace  bars  the 
gates.  But  the  virtues  sleep  and  Conscience  is  forced  to  become  a 
pilgrim  over  the  world,  seeking  the  Plowman.  In  a  13th  century 
homily,  Sawles  IVarde,  man  is  represented  as  a  castle  inhabited  by 
Wit,  his  wife  Will,  five  servants,  the  five  senses,  and  four  daughters,  the 
cardinal  virtues. 

Among  the  Moral-plays  the  Cast/e  of  Perseverance  well  illustrates 
the  prevailing  conception.  The  play  was  performed  during  the 
reign  of  Henry  VI.,  but  it  is  thought  from  its  completeness  that  it 
must  have  had  predecessors  of  the  same  kind  (Collier,  Hist.  Dr. 
P.,  II.  p.  200  et  seq.).  Huraanum  Genus  has  been  conducted  by 
Good  Angels  to  the  Castle  of  Perseverance,  which  is  under  the  ward- 
ship of  the  vSeven  Virtues.  The  Seven  Deadly  Sins  attack  the  castle 
but  are  repulsed  by  the  Virtues,  being  made  "  blak  and  bio"  by  the 
beating  of  roses  which  Charity  and  Patience  fling  from  the  walls. 
"Drery  Death"  alone  has  power  over  Humanura  Genus  whose  soul 
is  at  last  saved  by  the  grace  of  Deity. 

The  later  development  of  the  theme  needs  only  to  be  mentioned 
here.  The  Faery  Qiieene  was  a  natural  evolution  of  the  medh'eval 
chivalric  idea.  Though  the  theological  dogmatism  is  abandoned 
mankind  is  yet  in  the  wilderness  of  this  world,  beset  by  sins  on 
every  side.  In  Book  II.  there  is  set  forth  the  struggle  of  the  Soul 
against  its  enemies.  In  Mammon's  Cave  the  World  is  overcome. 
Arthur  prevails  against  the  Devil  in  the  person  of  Maleger,  the 
captain  of  the  vices.  Guyon,  in  the  bower  of  Acrasia,  resists  the 
temptations  of  the  Flesh.  The  ninth  canto  shadows  forth  the 
struggle  of  the  Soul  within  the  body.  Milton  and  Bunyan  picture 
the  redemptive  system  from  the  Protestant  point  of  view.  For  the 
^r'i\.'i\v[\Q\\\lsl\\'io\\''~>  Paradise  Regained  \\\&  struggle  is  pictured  as 
being  withdrawn  within  the  self  —  this  is  the  beginning  of  the 
modern  treatment  of  the  theme.  But  Bunyan  writes  directlv  in 
the  manner  of  the  "old  fables"   that   dealt  with  "  Mansoul's  wars." 


Ixxvi  The  Allegory  of  the    Vices  and   Virtues. 

One  of  the  last  of  these  inicrocosniic  'encounters  and  tl:e  most 
ingenious  and  involved  of  all,  is  the  Purple  Island,  published  in 
1633  by  the  poet  Fletcher,  who  is  called  by  Francis  Quarles  "the 
Spenser  of  this  age."  The  Purple  Island  is  Man.  Its  prince  is 
Intellect.  The  Senses  constitute  a  pentarchy.  Cosmos  captains 
the  rout  of  Vices  that  attack  the  Island.  The  Virtues  defend  and 
conquer  (v.  cantos  vii-viii,  ix-x,  xi-xii). 

Considering  the  possibilities  of  Lydgate's  theme  it  is  to  be  regret- 
ted that  he  did  not  grapple  with  it  more  successfully.  His  work 
exhibits  intelligence,  some  degree  of  imagination,  but  is  devoid  of 
passion  and  aesthetic  apprehension.  He  marshaled  numberless 
hosts,  his  design  was  so  comprehensive  as  to  include  the  upper 
firmament,  the  lowest  hell,  and  the  earth  and  man,  yet  the  Assembly 
of  Gods  is  almost  the  least  of  the  poems  attempting  to  portray  the 
Holy  War. 


THE   ASSEMBLY  OF   GODS. 


By  Don  John  Lydgate. 


*  Here  foloweth  the   Intr/'pretacion   of   the  names  of  goddys  & 
goddesses  as  ys  rehersyd  in  pis  tretyse  folowy//g  as  poet^s  wryte : 


Phebus: 

ys  as  moche  to  sey  as  Se  Sonne. 

Ceres: 

Apollo : 

ys  the   same   or   ellys   God  of 

CupiDO: 

Lyght. 

Othea: 

Morpheus 

:  Shewer  of  Dremes. 

Fortune: 

Pluto : 

God  of  Hell. 

Pan: 

Mynos  : 

luge  of  Hell. 

Isys: 

Cerberus: 

Porter  oi  Hell. 

Neptunus: 

Eolus: 

pe  Wynde  or. God  of  pe  Eyre. 

MYNfi^UE  : 

Diana: 

Goddesse  of  Woode  &  Chace. 

Phebe: 

pe  Mone  or  Goddes  of  Watyrw. 

B.\CHUS : 

Aurora: 

Goddes  of   pe   Morow  or  the 

Mfj^CURIUS 

Spryng  of  the  Day. 

Venus: 

Mars: 

God  of  Batayll. 

Discorde: 

Iubyter: 

God  of  Wysdoin. 

lUNO: 

Goddesse  of  Rychesse. 

Attropos  : 

Saturne  : 

God  of  Colde. 

Goddesse  of  Corne. 
God  of  Loue. 
Goddes  of  Wysdom. 
pe  variaunt  Goddesse. 
God  of  Shepard^j. 
Goddesse  of  Frute. 
God  of  the  See. 
Goddesse  of  Batayll,  or  of 

Harueyst. 
God  of  Wyne. 
:  God  of  Langage. 
Goddesse  of  Loue. 
Goddesse   of   Debate  and 

Stryfe. 
Dethe. 


Whan  Phebus  in  the  Crabbe  had  nere  hys  cours  ronne 

And  toward  the  leon  his  iourne  gan  take, 
To  loke  on  Pictagoras  speere  I  had  begonne, 
Syttyng  all  solytary  alone  besyde  a  lake, 
Musyng  on  a  uiant'r  how  that  I  myght  make 
Reason  &  Sensualyte  in  oon  to  acorde; 
But  I  cowde  nat  bryng  about  that  monacorde.         7 

*  Oviitted  in  B.     C  foUozvs  the  Camb.  MS.,  closing:     Here  endyth  the  Interpretac/on  of  the 
names  of   Goddis  and  Goddesses  as  is  rehercyd  in  thys  treatyse  folowynge. 

I 


When  Phebus 
had  nearly  run 
his   course  in 
the  Crab,  alone 
beside   a  lake, 
I   was   musing 
how  I    might 
make  Reason 
and  Sensuality 
to  accord. 


The  Journey  to  Hell. 


In  heaviness 
1  fell  asleep. 


Morpheus 
enters  and 
takes  me  by 
the  sleeve, 


For  long  er  I  myght,  slepe  me  gan  oppresse  8 

So  ponderously,  I  cowde  make  noon  obstacle, 
In  niyne  heede  was  fall  suche  an  heuynesse, 

I  was  fayne  to  drawe  to  myn  habytacle,  1 1 

To  rowne  w/'t/^  a  pylow  me  semvd  best  trvacle. 
So  leyde  I  me  downe  my  dyssese  to  releue. 
Anone  came  in  Morpheus  &  toke  me  by  the  sleue.  14 


bidding  me 
arise  and 
attend  the 
Court  of 
Minos. 


I  obey  and 
go  with  him 
towards  the 
parliament  of 
Pluto  and 
Minos. 


On  the  way  I 

ask  him  his 

name.     He 

replies, 

"  Morpheus." 


"Where  do  you 
dwell?"     He 
answers,  "in 
Fantasy." 


Having  arrived 
in  Hell, 
Cerberus,  the 
porter,  brings 
thither  Eolus 
in  chains, 
charged  by 
Neptune  and 
Diana  with 
traitorous 
action. 


And  as  I  so  lay  half  in  a  traunse,  15 

Twene  slepyng  and  wakyng  he  bad  me  aryse. 
For  he  seyde  I  must  yeue  attendaunse 

To  the  gret  Court  of  Mynos,  the  iustyse.  18 

Me  nought  auaylyd  ayene  hym  to  sylogyse ; 
For  hit  ys  oft  seyde  by  hem  that  yet  lyues 
He  must  nedys  go  that  the  deuell  dryues.  21 

4 
When  I  sy  no  bettyr  but  I  must  go  22 

I  seyde  I  was  redy  at  hys  cowmaundment, 
Whedyr  that  he  wold  me  leede  to  or  fro. 

So  vp  I  aroose  and  forthe  whh  hym  went,  25 

Tyll  he  had  me  brought  to  the  pr/z-lyament. 
Where  Pluto  sate  and  kept  hys  estate, 
And  wkh  hym  Mynos,  the  luge  desperate.  28 

5 
But  as  we  thedyrward  went  by  the  way,  29 

I  hym  besought  hys  name  me  to  tell. 
"Morpheus,"  he  seyde,  "thow  me  call  may." 

"A  syr,"  seyd  I,  "than  where  do  ye  dwell,  32 

In  heuen  or  in  erthe  outher  elles  in  hell  ?" 

"Nay,"  he  seyde,  "myn  abydyng  most  comonly 
Ys  in  a  lytyll  corner  callyd  Fantasy."  35 

6 
And  as  sone  as  he  these  wordys  had  sayd,  36 

Cerberus,  the  porter  of  hell,  ^\i\.h  hys  cheyne 
Brought  theder  Eolus  in  raggys  euyll  arayd, 

Agayn  whom  Neptunus  and  Diana  dyd  cowpleyne   39 
Seying  thus,  "O  Mynos,  thow  luge  souereyne, 
Yeue  thy  cruell  iugement  ageyn  thys  trayto/^-/- soo 
That  we  may  haue  cause  to  preyse  thy  lord  Pluto."  42 


In  the  Court  of  Alinos. 


UNIVERSITY 


Then  was  there  made  a  proclamasion,  43 

In  Plutoys  name  coz/nnaundyd  silence 
Vppon  the  peyne  of  strayte  correccion, 

That  Diana  and  Neptunz^-j  myght  haue  audience       46 
To  declare  her  greefe  of  the  gret  offence 

To  theym  done  by  Eohis,  wheron  they  compleynyd. 
And  to  begyfi  Diana  was  constreynyd.  49 

8 
Whyche  thus  began  as  ye  shall  here  50 

Seying  in  thys  wyse,  "  O  thow  lord  Pluto, 
\Nkh  thy  luge  Mynos,  syttyng  w/t//  the  in  fere, 

Execute  your  fury  vppon  Eolus  so  53 

Accordyng  to  the  offence  that  he  to  me  hath  do. 
That  I  haue  no  cause  forther  to  apele, 
Whiche  yef  I  do  shall  nat  be  for  your  wele.  56 

9 
"Remembre  furst  howe  I  a  goddesse  pure  57 

Ouer  all  desertys,  forestes  and  chases, 
Haue  take  the  guydyng  and  vndyr  my  cure. 

Thys  trayto^/r  Eolus,  hath  many  of  my  places  60 

Dystroyed  with  hys  blastes  and  dayly  me  manaces. 
Where  any  wood  ys  he  shall  make  hyt  pleyn 
Yef  he  to  hvs  lyberte  may  resorte  ayeyh.  63 

10 
"  The  grettest  trees  that  any  man  may  fynde  64 

In  forest  to  shade  the  deere  for  her  comfort. 
He  breketh  hem  asondre  or  rendeth  hem  roote  &  rynde 
Out  of  the  erthe — thys  ys  hys  dysport,  67 

So  that  the  deere  shall  haue  no  resort 
W/t/zyn  short  tyme  to  no  man^r  shade ; 
Whef  thorough  the  game  ys  lykly  to  fade.  70 

1 1 
"Whyche  to  my  name  a  reproche  syngler  71 

Shuld  be  for  twcr  whyle  the  world  last, 
And  to  all  the  godd^^  an  hygh  dyspleser 

To  see  the  game  so  dystroyed  by  hys  blast ;  74 

Wherfore  a  remedy  puruev  in  hast, 

And  let  hym  be  punvsshyd  aftyr  hys  offence. 
Consydef  the  cryme  and  yeue  your  sentence."        77 


Silence  is 
proclaimed   by 
Pluto  that 
Neptune  and 
Diana  may 
declare  their 
grievance. 


Diana,  first, 
begins   to 
speak, 


demanding 
from  Minos 
the  execution 
of  fury  upon 
Eolus, 


the  traitor,  who 
had  destroyed 
her  forests, 


breaking  and 
uprooting  the 
trees,     where- 
fore   the     deer 
are  without 
shelter. 


This  brings 
reproach  to 
Diana  and  dis- 
pleasure to  all 
the    gods,  and 
requires 
punishment. 


The   Co)npIaiiit  against  Eohis. 


Neptune  next 
rehearses  his 
complaint  to 
Minos. 


For  himself 
he  claims 
jurisdiction 
over  the  sea, 


but  Eolus 
causes  him  to 
turn  against 
his  course, 


and  ebb  and 
flow  out  of  his 
season. 


And  when  thus  Diana  had  made  her  compleynt  78 

To  Mynos,  the  luge,  in  Plutoys  p/rsence, 
Came  forthe  Neptunz/i-,  w/t//  vysage  pale  &  feynt, 

Desyryng  of  iz.wour  to  haue  audyence,  81 

Saying  thus,  "Pluto  to  thy  magnyfycence 
I  shall  reherse  what  thys  creature 
Eolus  hath  dooii  to  nie  out  of  mesure.  84 

13 
"Thow  knowest  well  that  I  haue  the  charge  85 

Ouer  all  the  see,  and  therof  god  I  am. 
No  shyp  may  savle.  keruell,  boot  ner  barge, 

Gret  karyk,  nor  hulke  \\ix.h  any  lyuyng  man,  88 

But  yef  he  haue  my  safe  condyte  than. 

Who  me  offendeth  w/tZ/vn  mv  iurysdiccion 

Oweth  to  subinvt  liviii  to  niv  correccion.  91 

14 
"But  in  as  mekvll  as  hit  vs  now  soo  92 

That  ye  hym  here  haue  as  \our  prvsonere, 
I  shall  yow  shew  my  compleynt  loo, 

Wherfore  I  pray  yow  that  ye  woll  hit  here,  95 

And  let  hym  nat  escape  out  of  your  daungere, 
Tyll  he  haue  made  full  seethe  and  recompence 
For  hurt  of  my  name  thorough  thys  gret  offence.  98 

15 
"  Furst,  to  begynne,  thys  Eolus  hath  oft  99 

Made  me  to  retourne  my  course  agayh  nature 
W/t//  hys  gret  blastys,  when  he  hath  be  a  loft, 

And  chargyd  me  to  labour  ferre  out  of  mesure,        102 
That  hit  was  gret  merueyle  how  I  myght  endure. 
The  [foom]  of  my  swet,  wyll  hit  testyfy, 
That  on  the  see  bankes  lythe  betyn  full  hy.  105 

16 
"Secundly,  where  as  my  nature  ys  106 

Bothe  to  ebbe  and  flowe  and  so  my  course  to  kepe, 
Oft  of  myn  entent  hath  he  made  me  mys. 

Where  as  I  shuld  haue  fyllyd  dykes  depe  109 

At  a  full  watyr  I  might  nat  thedyr  crepe 
Before  my  seson  came  to  retorne  ayeyne, 
And  then  went  I  fastyf  than  I  wold  certeyne.       1 1 2 


In  the  Court  of  Mi/ios. 


17 

"Thus  he  hath  me  dryuen  ayen  myn  entent  113 

And  contrary  to  my  course  naturall. 
Where  I  shuld  haue  be  he  made  me  be  absent 

To  my  gret  dyshonour,  &  in  especiall  116 

00  thyng  he  vsyd  that  worst  was  of  all, 
For  where  as  I  my  sauegard  grauntyd, 

Ay  in  that  cost  he  comonly  hauntyd.  119 

18 
"Of  VdVTcy  pure  malyce  and  of  sylfe  wyll,  120 

Theym  to  dystroy  in  dyspyte  of  me 
To  whom  I  promysyd,  bothe  in  good  and  yll, 

To  be  her  protectouf  in  adu^rsyte,  123 

That  to  theym  shuld  fall  opon  the  see, 
And  euyn  sodenly,  er  they  coude  beware, 
W/t//  a  sodeyn  pyry,  he  lappyd  hem  in  care.         126 

19 
"And  full  oft  sythe  w/t/i  hys  boystous  blast,  127 

Er  they  myghtbeware  he  drofe  hym  on  the  sande. 
And  other  whyle  ht  brak  top  seyle  and  mast, 

Whyche  causyd  they;«  toperysshe  er  they  came  to  lande. 
Then  cursyd  they  the  tyme  that  tuer  they  me  fande. 
Thus  among  the  pepyll  lost  ys  my  name 
And  so  by  hys  labo///''  put  I  am  to  shame.  133 

20 
"  Consydre  thys  mater  and  ponder  my  cause;  134 

Tendre  my  cowpleynt  as  rygour  requyreth ; 
Shew  forthe  your  sentence  w/tA  a  breef  clause. 

1  may  nat  long  tary,  the  tyme  fast  expyreth,  137 
The  offence  ys  gret,  wherfore  hyt  desyreth 

The  more  greuous  peyne  and  hasty  iugement. 
For  offence  doofi  wylfully  woll  noon  auysment."  140 
21 
And,  when  the  god  Pluto  awhyle  had  hym  bethought,  141 

He  rownyd  w/t/i  Mynos  to  know  what  was  to  do. 
Then  he  seyd  opynly,  "  Loke  thow  fayle  nought 

Thy  sentence  to  yeue  w/t/iout  idivoiir  so,  144 

Lyke  as  thow  hast  herde  the  causys  meuyd  the  to ; 
And  so  euenly  dele  twene  these  partyes  tweyn, 
That  noofi  of  hem  haue  cause  on  the  other  cowpleyfi." 


This  Eolus  had 
done  to  his  dis- 
honour. 


Out   of  very 
malice  Eolus 
destroyed  those 
to  whom  he  had 
granted  protec- 
tion, 


or  else  brought 
them  to  wreck; 
wherefore  his 
name  is  held  in 
dishonor. 


The  great  of- 
fense requiresa 
grievous  pun- 
ishment. 


Pluto  advises 
Minos  to  judge 
fairly  between 
the  parties. 


Invitation  of  Apollo, 


Minos  asks  for 

further 

charges. 


Then  seyd  Mynos  full  indyfferently,  148 

To  Dyane  &  Neptun?/j-,  "  Ys  ther  any  more 
That  ye  wyll  declare  agayii  hvm  opynly  ?" 

"Nay  in  dede,"  they  seyde,"we  kepe  noon  in  store.  151 
We  haue  seyde  ynough  to  punysshe  hym  sore. 
Yef  ye  in  thys  matyr  be  nat  parciall, 
Renienibre  your  name  was  wont  to  be  egall."        154 


and  wishes  to 
hear  what 
Eolus  can  say 
for  himself. 


A  messenger 
enters  from 
Apollo  inviting 
the  gods  to  a 
banquet  and 


requests  the 
suspension  of 
judgment  upon 
Eolus,  if  Diana 
and  Neptune 
should  be 
therewith 
content. 


The  Court  is 
therefore  dis- 
missed. 


"Well  then,"  seyd  Mynos,  "now  let  vs  here  155 

What  thys  boystous  Eolus  for  hy/'//self  can  sey, 
For  here,  pr/ma  facie,  to  vs  he  doth  apere 

That  he  hath  offendyd — no  man  can  sey  nay.  158 

Wherfore  thow  Eolus,  w/t/iout  more  delay, 
Shape  vs  an  answer  to  thyne  accusement. 
And  ellys  I  most  p-r^cede  opon  thy  iugement."    161 
24 
And  euyn  as  Eolus  was  onwarde  to  haue  seyde  162 

For  hys  excuse,  came  yn  a  messynger 
Fro  god  Apollo  to  Pluto,  and  hym  prayde 

On  hys  behalfe  that  he  w/t/^out    daungere  165 

Wold  to  hym  come  &  bryng  w/t/^  hym  [in]  feere 
Diane  &  Neptunz^j  on  to  hys  banket; 
And  yef  they  dysdeynyd  hy»/sylf  he  wold  hem  fet.  168 

25 
Moreouf?/'  he  seyde  to  the  god,  Apollo  169 

Desyryd  to  haue  respyte  of  the  iugement 
Of  Eolus,  bothe  of  Mynos  &  Pluto. 

So  Dyane  and  Neptunus  were  therw/t//  content,        172 
And  yef  they  were  dysposyd  to  assent 
That  he  myght  come  vnto  hys  prifsence. 
He  hit  desyryd  to  know  hvs  offence.  175 

26 
"What  sey  ye  herto,"  seyd  Pluto  to  hem  tweyn,  176 

"Wyll  ye  bothe  assent  that  hit  shall  be  thus?" 
"  Ye,"  seyde  the  goddesse,  "  for  my  part  certeyn." 

"And  1  also,"  seyde  thys  Neptunus.  179 

"I  am  well  plesvd,"  quod  thys  Eolus. 

And  when  they  had  a  whyle  thus  togedyr  spoke, 
Pluto  co;«raaundyd  the  court  to  be  broke.  182 


To  Apollo's  Palace. 


27 
And  then  togedyf  went  they  in  fere,  183 

Phito  &  Neptun/^j-  ledyng  the  goddesse, 
Whom  folowyd  Cerberus  w/t/^  hys  prysonere. 

And  alther  last  w/t/;  gret  heuynesse  186 

Came  I  &  Morpheus  to  the  forteresse 
Of  the  god  Apollo  vnto  hys  banket, 
Where  many  goddys  &  goddesses  met.  189 

28 
When  Apollo  sye  that  they  were  come,  190 

He  was  ryght  glad  and  prayed  hem  to  syt. 
"Nay,"  seyd  Diane,  "  thys  ys  all  and  some. 

Ye  shall  me  pardone,  I  shall  nat  syt  yet.  193 

I  shall  fyrst  know  why  Eolus  abyte 

And  what  execucion  shall  on  hym  be  do 
For  hys  offence."     "  Well,"  seyd  Apollo,  196 

29 
"Madame,  ye  shall  haue  all  your  plesere,  197 

Syth  that  hit  woll  none  other  wyse  be. 
But  furst  I  yow  pray  let  me  the  mater  here. 

Why  he  ys  brought  in  thys  ptvplexyte."  200 

"Well,"  seyde  Pluto,  "that  shall  ye  sone  se." 
And  gan  to  declare  euen  by  and  by 
Bothe  her  compleyntes  ordynatly.  203 

And  when  Apollo  had  herd  the  report  204 

Of  Pluto,  in  a  manifA  smylyng  he  seyde, 
"I  see  well,  Eolus,  thow  hast  small  comfort 

Thy  sylf  to  excuse;  thow  mayst  be  dysmayde  207 

To  here  so  gret  compleyntffj"  ayene  the  layde. 
That  natw/t//standyng,  yef  thow  can  sey  ought 
For  thyne  owne  wele,  sey  and  tary  nought."         210 

31 
"Forsothe,"  seyd  Eolus,  "yef  I  had  respyte,  211 

Her  to  an  answere  cowde  I  counterfete. 
But  to  haue  her  grace  more  ys  my  delyte. 

Wherfore,  I  pray  you  all  for  me  entrete,  2\\ 

That  I  may,  by  your  request,  her  good  grace  gete. 
And  what  pyne  or  greef  ye  for  me  prouyde, 
W/t/iout  any  grogyng  I  shall  hit  abyde."  217 


Pluto,  Nep- 
tune and 
Diana,  Cer- 
berus and 
Eolus,  Mor- 
pheus and  I, 
come  to  the 
palace  of 
Apollo,  where 
many  gods 
and  goddesses 
are  met. 


Apollo  wel- 
comes them 
with  gladness. 


Diana  refuses 
to  sit  until 
judgment  is 
pronounced  on 
Eolus. 


Pluto  recounts 
the  complaints 
against  Eolus, 


who  is 
requested  to 
give  his 
excuses. 


Eolus  speaks 
suing  for  the 
grace  of 
Diana. 


The  Complaint  Dismissed. 


Apollo  pleads 
for  Eolus  that 
the  goddess 
show  pity,  on 
account  of  his 
great  sorrow, 


"Lo,  good  Madame,"  seyd  god  Apollo,  218 

"What  may  he  do  more  but  sew  to  your  grace. 
Beholde  how  the  teares  from  hys  even  go. 

Hit  ys  satysfaccion  half  for  hys  trespase.  221 

Now  gloryous  goddesse  shewe  your  pvteous  face 
To  thys  poore  pryson<fr  at  my  request. 
All  we  for  your  honour  thynke  thus  vs  best.  224 


and  assures 
her  if  she  for- 
give Eolus  and 
he  afterwards 
rebel  that  for 
every  tree 
destroyed  a 
hundred    shall 
grow 


for  the  pro- 
tection of 


22S 


231 


Diana  grants 
release. 


"  And  yef  hit  lyke  yow  to  do  in  thys  wyse, 
And  to  foryeue  hym  clerely  hys  offense, 
Oofi  thyng  suerly  I  will  yow  promyse, 
Yef  he  eft  rebelle  and  make  resystence 
Or  dysobey  vnto  your  sentence, 
For  eu<?/y  tree  that  he  maketh  fall. 
Out  of  the  erthe  an  hundred  aryse  shall. 

34 
"So  that  your  game  shall  nat  dvscrese 
For  lak  of  shade,  I  dar  vndyrtake." 
"Well,  syr  Apollo,"  seyde  she  than,  "woll  I  cese 
Of  all  my  ranco^^r  and  mery  wiih  vow  make." 
And  then  god  Neptunz/j-  of  hys  mater  spake, 

Seying  thus,  "  Apollo,  though  Diana  hym  relese, 
Yet  shall  he  su  to  me  to  haue  hys  pese."  23S 


235 


For  Neptune's 
case  Phebe  is 
accepted  as 
arbiter. 


-Apollo  prays 
the  gods  and 
goddesses  to 
fall  to  the 
banquet. 

-■Xthena 
requests  that 
due  order  be 
preserved. 


"A,"  seyde  Apollo,  "ye  wend  I  had  foryete  239 

Yow  for  my  lady  Diane,  the  goddesse. 
Nay,  thynke  nat  so,  for  I  woll  yow  entrete 

As  well  as  hyr  w/t/^out  long  processe.  242 

Wyll  ye  agre  that  Pheb[e]  your  mastresse 
May  haue  the  guvdvng  of  your  varyaunce?" 
"I  shall  abyde,"  quod  he,  "her  ordvnaunce."       245 

36 
"Well  then,"  quod  Apollo,  "I  pray  you  godd<f^  all,    246 

And  goddesses  eke,  that  be  heere  p/rsent. 
That  ve  compavgnablv  wyll  aboorde  fall." 

"Nay  then."  seyde  Othea,  "hit  ys  nat  conuenvent,  249 
A  dew  ordre  in  tucry  place  vs  expedvent 
To  be  had,  wherfore  ye  mav  nat  let 
To  be  vouf  owne  marchall  at  vouf  owne  banket. "252 


Assembly  of  the  Gods. 


37 
And  when  Apollo  sy  hit  wold  noon  other  be,  253 

He  callyd  to  hym  Aurora,  the  goddesse. 
And  seyde,  "  Thowgh  ye  wepe  yet  shal  ye  before  me 
Ay  kepe  your  course  &  put  your  sylf  in  [presse]."  256 
So  he  her  set  furst  at  hys  owne  messe, 

W/t/i  her  moyst  clothes  w/t/^  teares  all  be  spreynt. 
The  medewes  in  May  shew  therof  her  co»2pleynt.2  59 

38 
Next  hyr  sate  Mars,  myghty  god  &  strong,  260 

W/t/i  a  flame  of  fyre  enuyround  all  about, 
A  crowne  of  yron  on  hys  hede,  a  spere  in  hys  hand. 
Hyt  semyd  by  hys  chere  as  he  wold  haue  fought.     263 
And  next  vnto  hym,  as  I  p^/'ceue  mought, 
Sate  the  goddese  Diana,  in  a  mantell  fyne 
Of  blak  sylke,  purfylyd  wMi  poudryd  hermyne,   266 

39 
Lyke  as  she  had  take  the  mantell  &  the  ryng.  267 

And  next  vnto  hyr,  arayed  royally. 
Sate  the  good  lupyter,  in  hys  demenyng 

Full  sad,  and  wyse  he  semyd  sykerly.  270 

A  crown  of  tynne  stoode  on  hys  hede. 
And  that  I  recorde  of  all  philosophres 
That  lytyll  store  of  coyne  kepe  in  her  cofres.        273 
40 
loynyd  to  hym  in  syttyng  next  ther  was  274 

The  goddesse  luno,  full  rvchely  beseene 
In  a  sercote  that  shone  as  bryght  as  glas. 

Of  goldsmythes  werke  wkh  spanglys  wrought  be-dene. 
Of  royall  rychesse  wantyd  she  noone  I  wene. 
And  next  by  her  sate  the  god  Saturne, 
That  oft  sythe  causeth  many  oofi  to  morne.  280 

41 
But  he  was  clad  me  thought  straungely,  281 

For  of  frost  &  snow  was  all  his  arav; 
In  hys  hand  he  helde  a  fawchon  all  blody. 

Hyt  semyd  by  hys  chere  as  he  wold  make  a  fray.    284 
A  bawdryk  of  isykles  about  hys  nek  gav 

He  had,  and  aboue  an  hygh  on  hvs  hede,        [leede. 
Cowchyd  wilh  hayle  stonys,  he  wervd  a  crowne  of 


First,  with 
Apollo,  is  set 
Aurora,  wet 
with     morning 
tears. 


Next,  Mars, 
environed  with 
flame,  an  iron 
crown  upon 
his  head,  a 
spear  in  his 
hand. 

With  him  is 
Diana,  in  a 
mantle  of   silk 
and  ermine. 


Jupiter  sits 
next,  sad    and 
wise,  wearing  a 
crown  of  tin. 


With  him  is 
Juno,  dressed 
in  royal  rich- 
ness. 


Saturn  next, 


arrayed  In 
frost  and  snow, 
a  bloody  fal- 
chion in  his 
hand,  a  ring  of 
icicles  about 
his  neck,  a 
crown   of    lead 
on  high. 


lO 


Assembly  of  tJic  Gods. 


With  him  sits 
Ceres  in  a  gar- 
ment of  sack- 
cloth embroid- 
ered with 
sheaves  and 
sickles. 


Next  Cupid, 
dressed  in 
gallant  array 
with  jewels,  so 
that  the  palace 
shone.     He 
sits  embracing 
Ceres  with  one 
arm. 


With  him  is 
Athena,  clad 
in  purple  with 
a  pearly  crown. 


Pluto  next, 
environed  in 
mist  and 
clothed  in  a 
smoky  net, 
smelling  of 
fire  and  sul 
phur. 


Fortune  sits 
with  him;  she 
is  dressed 
gaudily  in 
green. 


And  next  in  ordre  was  set  bv  hvs  svde  288 

Ceres,  the  goddesse,  in  a  garment 
Of  sak  clothe  made  wMi  sleues  hirge  &  wyde, 

Embrowderyd  wkh  sheiies  &  sykelvs  bent.  291 

Of  all  man^/-  greynes  she  sealvd  the  patent, 
In  token  that  she  was  the  goddesse  of  corne. 
Olde  poetys  sey  she  bereth  the  heruest  home.      294 

43 
Then  was  there  set  the  god  Cupido,  295 

All  fresshe  &  galaunt  &  costlew  in  arav. 
W/t/^  ouches  &  ryngd'j-  he  was  beset  so 

The  paleys  therof  shone  as  though  hit  had  be  dav.  298 
A  kerchyef  of  plesaunce  stood  ouer  hvs  helme  ay. 
The  goddesse  Ceres  he  lookvd  in  the  face 
And  w/t/i!  oon  arme  he  hyr  dyd  enbrace.  301 

44 
Next  to  Cupido  in  ordyr  by  and  by,  302 

Of  worldly  wysdoii],  sate  the  forteresse 
Callyd  Othea,  chyef  grounde  of  polycy, 

Rewler  of  knvghthode,  of  Prudence  the  goddese.    305 
Clad  all  in  p/c>'-pur  was  she  more  &  lesse, 
Safe  on  her  hede  a  crowne  thef  stood, 
Cowchyd   w/t/^  perles,  oryent,  fyne  and  good.      30S 

45 
And  next  to  her  was  god  Pluto  set,  309 

W/t//  a  derke  myst  enuyrond  all  aboute, 
Hvs  clothyng  was  made  of  a  smoky  net. 

Hys  colo//r  was,  bothe  w/t//yn  &  w/t/zoute,  312 

Foule,  derke  &  dy;//me ;  hys  eyen  gret  &  stoute. 
Of  fyre  and  sulphure  all  hys  odo//r  wase  ; 
That  wo  was  me  whyle  I  behelde  hys  fase.  315 

46 
Fortune,  the  goddesse,  w/t/^  her  party  face  316 

Was  vnto  Pluto  next  in  ordre  set. 
Varyaunt  she  was ;  ay  in  short  space 

Hyr  whele  was  redy  to  turne  w/t/;out  let.  319 

Hyr  gowne  was  of  gawdy  grene  chamelet, 
Chaungeable  of  sondry  dyuc/'se  colowres, 
To  the  condycyons  accordyng  of  hyr  shoures.      322 


Assembly  of  the  Gods. 


II 


47 


323 


326 


329 


330 


333 


536 


337 


And  by  her  sate  though  he  vnworthy  were, 

The  rewde  god  Pan,  of  shep<?rdys  the  gyde, 
Clad  in  russet  frese,  &  breched  lyke  a  bere, 
W/t/i  a  gret  tar  box  hangyng  by  hys  syde. 
A  shepecrook  in  hys  hand  he  sparyd  for  no  pryde 
And  at  hys  feete  Lay  a  prykeryd  curre. 
He  ratelyd  in  the  throte  as  he  had  the  murre. 
48 
Ysys,  the  goddesse,  bare  hym  company. 

For  at  the  table  next  she  sat  by  hys  syde, 
In  a  close  kyrtyll  enbrowderyd  curyously, 
W/t/^  braunches  &  leues,  brood,  large  &  wyde, 
Grene  as  any  gresse  in  the  som^rtyde. 

Of  all  mani^r  frute  she  had  the  goucrnaunce. 
Of  sauerys  odoryferous  was  her  sustynaunce. 

49 
Next  hyr  was  then  god  Neptun//'j-  set. 

He  sauoryd  lyke  a  fysshef — of  \vjm  I  spake  before. 
Hyt  semyd  by  hys  clothes  as  they  had  be  wet.        [score. 
Aboute  hym,  in  hys  gyrdyll  stede,  hyng  fysshes  many  a 
Of  hys  straunge  aray  m^ruelyd  I  sore. 

A  shyp  w/t/i  a  toppe  &  seyle  was  hys  crest. 
Me  thought  he  was  gayly  dysgysyd  at  that  fest. 

50 
Then  toke  Mynerue,  the  goddesse,  her  sete 

Joyntly  to  Neptun/^'j',  all  in  curas  clad, 
Gauntlett^i'  on  hyr  handys,  &  sabatouns  on  hyr  fete. 
She  loked  eud'r  about  as  though  she  had  be  mad. 
An  hamer  and  a  sythe  on  her  hede  she  had. 

She  weryd  ii  bokelers,  oofi  by  her  syde,  [pryde. 

That  other  ye  wote  where ;    thys  was  all  her       350 

51 
Then  came  the  good  Bachus,  and  by  her  set  hym  downe, 

Holdyng  in  hys  hande  a  cup  full  of  wyne. 
Of  grene  vyne  leues  he  weryd  a  ioly  crowne. 

He  was  clad  in  clustres  of  grapes  good  and  fyne.    354 
A  garland  of  yuy  he  chase  for  hys  sygne ; 

On  hys  hede  he  had  a  thredebare  kendall  hood  ; 
A  gymlot  and  a  fauset  theropon  stood.  357 


By  her   is  god 
Pan  dressed 
rudely,  a  tar- 
box  by  his 
side,   a  sheep- 
crook  in  his 
hand, 

at  his  feet  a 
cur. 


Isys  keeps  him 
company   in    a 
dress  embroid- 
ered with 
leaves  and 
branches. 


343 


344 


347 


Neptune  sits 
next.       Fishes 
hang  at  his 
girdle.     A  ship 
is  his  crest. 


With  him   sits 
Minerva,    clad 
in  armor,  a 
hammer  and 
scythe  upon 
her  head. 


Bacchus  sits 
by  her,  clad  in 
grape  clusters, 
a   cup  of  wine 
in  his  hand. 
His  sign  is  a 
garland  of 
yew. 


12  Assembly  of  the  Gods. 

52 
With  him  sits   Next  hvm  sate  Phebfe],  w/t//  hvr  coXoiir  pale.  ^=;8 

pale  Phebe,  "  '-    -"  -  ^  ^ -^ 

boasting  of  her        Fat  shc  was  of  facc  but  of  complexvon  fevnt. 

rule.  I  .  . 

She  seyde  she  rewlyd  Nejitun//i-  and  made  \\\ni  to  avale, 
And  ones  in  the  moneth  wilh  Phebus  was  she  nievnt. 
Also  ne  were  she  Ceres  were  ateynt. 

Thus  she  sate  <Sc  tolde  the  nivs^ht  of  hvr  nature, 

She  wears  a  .0.7 

silver  crown.  And  on  hyr  hede  she  wervd  a  crowne  of  svluvr  pure. 

53 
Mercury  seats   lovntlv  to  her  Mfrcurius  tooke  hvs  see  -?6^ 

himself  ne.\t,  a  •  •  -  o     j 

god  of  golden        As  came  to  hvs  course  —  wvtnesse  the  zodyak. 

tongue.     In 

his  hand  he       He  had  a  sryldyn  tons:,  as  fvU  for  hvs  desfree. 

has  a  box  of  o.        .  o?  .'  .  ft 

quicksilver.  In  eloquence  of  langage  he  passyd  all  the  pak,         368 

For  in  hys  talkyng  no  man  cowde  fynde  lak. 
A  box  wkh  quyksylu(?r  he  had  in  hvs  hand, 
Multyplyers  know  hit  well  in  eu^rv  land.  371 

54 
His  companion   gy  j^j,^;,  j^^jg  Dame  Vcnus  wiili  colour  crvstallvne,        ^72 

IS  Venus,  -  .  .         '  .J  ' 

''i'^'^S'      A         Whoos  long  here  shone  as  wyre  of  goold  brvght. 

chere,  dressed  o  .0.0 

curiously,  her     Crvspe  was  her  skvn,  her  even  coluwbvne, 

hair  like  gold  -     1  ^      '  ./  .         ' 

"''^^-  Rauysshyd  myn  hert  her  chere  was  so  lyght.  375 

Patronesse  of  plesaunce,  be  namyd  well  se  myght. 
A  smokke  was  her  wede,  garnysshyd  curvously. 
But  aboue  all  other  she  had  a  wanton  ey.  378 

55 
Shewearsa       On  her  hede  she  weryd  a  rede  copvr  crowne.  379 

copper   crown. 

A  nosegay  she  had  made  full  pleasauntly. 
Between  Betwene  her  and  Aurora,  Apollo  set  hym  downe. 

Aurora  and  '■ 

Venus  Apollo       W/t//  hvs  bcames  brvght  he  shone  so  feruentlv         ^82 

sits  him  down.  -  -'  "-"  •  ^ 

He  gives  light       That  hc  iherw/t/i  gladyd  all  the  companv. 

to  the  com-  o         j  j.         . 

pany.   His  \  crowne  of  pure  gold  was  on  hys  hede  set, 

crown  IS  of  10  y 

go'd.  In  sygne  that  he  was  mastyr  &  lord  of  that  banket. 

56  " 
Waiting  at  the  Thus  was  the  table  set  rownde  aboute  386 

table  are  poets 

and  phiioso-  With  fifoddvs  &  goddesscs,  as  I  haue  vow  tolde. 

phers:  O  .  » 

Cicero,    Aris-   Awaytynsf  on  the  boorde  was  a  gret  route 

totle,  Ptolemy,  .^    ^     »  O 

Dorothe,  Of  sage  phvlosophyrs  &  poetes  many  folde.  389 

Plato,  Me's-  Thcr  was  sad  Sychero  &  Arystctyll  olde, 

sala,  Socrates, 

Tholome,  Dorothe,  wnvi  Dyogenes, 

Plato,  Messehala,  &  wyse  Socrates.  392 


Discord  and  Atropos. 


13 


57 


393 


96 


399 


Sortes  and  Saphyrus  w/t/^  Hermes  stood  behynde. 

Auycen  and  Aueroys  with  hem  were  in  fere. 
Galyen  &  Ipocras,  that  physylc  haue  in  mynde, 
WVt/i  helpe  of  Esculapion,  toward  hem  drow  nere. 
Virgyle,  Orace,  Ouyde  and  Omere, 

Euclyde,  and  Albert  vaue  her  attendaunce, 
To  do  the  goddys  and  goddesses  plesaunce. 
58 
Whore  berdyd  Orpheus  was  there  w/t/^  hys  harpe 

And  as  a  poet  musykall  made  he  melody. 
Othyr  mynstrall  had  they  none,  safe  Pan  gan  to  carpe 
Of  hyslewde  bagpvpe,  whyche  causyd  the  company  403 
To  lawe.    Yet  many    mo    the?  were,  yef  I  shuld  nat  ly, 
Som  yong,  som  olde,  bothe  bettyr  and  werse, 
But  mo  of  her  names  can  I  not  reherse. 


Sortes, 

Saphirus, 

Hermes, 

Avicen, 

Averroes, 

Galen, 

Hypocras, 

Esculapius, 

Virgil, 

Horace,   Ovid 

Homer, 

Euclid  and 

Albert. 


400     Orpheus  and 


Pan  act  as 
minstrels. 


59 


406 


407 


Of  all  manrr  deyntees  tner  was  habundaunce, 

Of  metys  &  drynkes  foyson  plenteuous. 
In  came  Dyscord  to  haue  made  varyaunce. 

But  there  was  no  rome  to  set  hyf  in  that  hous.         410 
The  goddys  remembryd  the  scisme  odyous 

Among  the  three  goddesses  that  [s]he  had  wrought 
At  the  fest  of  Peleus,  wherfor  they  thought  413 

60 
They  wold  nat  \\ix.h  her  dele  in  auenture  414 

Lest  she  theym  brought  to  som  inconuenyent. 
She,  seyng  thys,  was  wrothe  out  of  mesure 

And  in  that  gret  wrethe  out  of  the  paleyce  went,    417 
Seying  to  hersylf  that  chere  shuld  /ey  repent. 
And  anone  w/t/^  Attropos  happyd  she  to  raete, 
As  he  had  bene  a  goste  came  in  wyndyng  shete.  420 
61 
She  toke  hym  by  the  hande  &  rownyd  in  hys  eare       421 

And  told  hym  of  the  banket  that  was  so  delycate, 
Howe  she  was  resceuyd,  what  chere  she  had  there, 

And  howe  eu(?ry  god  sate  in  hys  estate.  [date!" 

"  Ys  hit  thus!"  quod  Attropos,  "what  in  the  deuyllys 

"  Well,"  he  seyde,  "  I  see  well  howe  the  game  gooth, 

Ones  yet  for  your  sake  shall  I  make  hem  wrooth."  427 


Discord  enters 
but  can  gain 
no  seat, 


thence   departs 
in  wrath, 
meeting  on  the 
way  with 
Atropos, 


14  Qmiplaiiit  of  Atropos. 

62 

And  when  she  had  hym  all  togedyr  tolde,  428 

par°,  Lt   "        From  her  he  departyd  and  of  hyr  toke  hys  leue, 
paUct.'"°     ^    Seying  that  for  hyr  sake  hys  wev  take  he  wolde 

In  to  the  paleyce  hys  matyrs  to  nieue.  431 

And  er  he  thens  went  he  trowvd  hem  to  greue 
W/t//  suche  tydyngffj-  as  he  shuld  hem  tell. 
So  forthe  yn  he  went  &  spake  wordvs  fell.  434 

He  looks  like   When  he  came  in  the  iwrsence  of  the  ■s.o^^es  all,         AXt. 

a  madman  and  ^  ~  '  -r^j 

salutes  the  As  he  had  be  woode  he  lookvd  hym  about. 

company 

rudely.  His  shetc  from  his  bodv  dowii  he  let  fall, 

And  on  a  rewde  man^v  he  salutyd  all  the  rout,         438 
W/t/^  a  bold  voyse,  carpyng  wordvs  stout. 
But  he  spake  all  holow,  as  hit  had  be  ooii 
i-     Had  spoke  in  another  world  paX.  had  woo  begoofi.  441 

64 
Atropos  makes    He  stood  forthe  boldly  whh  grvm  countenaunce,         442 

his  charge :  .  o   ^  i  -,-, 

Saying  in  thys  wyse  as  ye  shall  here, 
"All  ye  gret  goddys  yeue  attendaunce 
He  reminds  Vnto  my  wordys  w/t//out  all  daungere,  441; 

the  gods  of  his  '  ^  »         '  -ttj 

office  of  death-        Remcmbre  howe  ye  made  me  your  offycere 

bringing  -  -  ■' 

All  tho  whh  my  dart  fynally  to  chastyse 

That  yovv  dysobeyed  or  wold  your  law  dyspyse.  448 

65 
"And  for  the  more  sewerte  ye  seelyd  my  patent,  449 

Yeuyng  me  full  power  soo  to  occupy, 
Wherto  I  haue  enployed  myh  entent 

And  that  can  Dame  Nature  well  testyfy ;  452 

Yef  she  be  examynyd  she  woll  hit  nat  deny. 
For  when  she  forsaketh  any  creature, 
I  am  ay  redy  to  take  hym  to  my  cure.  455 

66 
unto  every         "  Thus  hauc  I  dewly,  wkh  all  my  dilygence,  456 

Executyd  the  offyce  of  olde  antiquyte. 
To  me  by  yow  grauntyd,  by  your  comon  sentence. 

For  I  spared  nooii  hygh  nor  low  degre,  459 

So  that  on  my  part  no  defaute  hath  be. 
For  as  sone  as  any  to  me  cownnyttyd  wase 
I  smete  hym  to  the  hert  —  he  had  noon  other  grase. 


man 


Complaint  of  Atropos. 


15 


67 


463 


466 


469 


470 


473 


"  Ector  of  Troy,  for  all  hys  chyualry, 

Alexaunder,  the  grete  «&:  myghty  conquero//r, 
lulius  Cesar,  w/t/^  all  hys  company, 
Dauid,  nor  losue,  nor  worthy  Artour, 
Charles  the  noble,  that  was  so  gret  of  honour. 
Nor  ludas  Machabee  for  all  hys  trew  hert, 
Nor  Godfrey  of  Boleyn  cowde  me  nat  astert 
68 
"Nabugodonozor,  for  all  hys  gret  pryde. 
Nor  the  King  of  Egypt,  cruell  Pharao, 
lason,  ne  Hercules,  went  they  xv^wer  so  wyde, 
Cosdras,  Hanyball,  nor  gentyll  Sypio, 
Cirus,  Achilles,  nor  many  another  mo. 
For  feyre  or  foule  gat  of  me  no  grace. 
But  all  be  at  the  last  I  sesyd  hem  whh  my  mace.  476 
69 
"Thus  hav  I  brought  eud'^y  creature 

To  an  ende  bothe  man,  fysshe,  foule  &  beste. 
And  eu^z-y  other  thyng  in  whom  Dame  Nature 
Hath  any  iurysdiccion,  owther  most  or  leste, 
Except  oonly  oon  in  whom  yo^/r  beheste 
Ys  to  me  broke ;   for  ye  me  promysyd 
-j  That  my  myght  of  nooii  shuld  haue  be  dyspysyd 
70 
"Wherof  the  contrary,  dar  I  well  avowe, 

Ys  trew ;  for  ooii  there  ys  that  wyll  nat  apply 
Vnto  my  correccion  nor  in  no  wyse  bowe 

To  the  dynt  of  my  dart  for  doole  nor  destyny. 
What  comfort  he  hath,  nor  the  cause  why 

That  hesorebelleth,  I  can  nat  thynkeof  ryght  [dyght 
But  yef  ye  haue  hym  grauntyd  yo//r  aldyrs  saf  con- 

71 
"And  yef  ye  so  haue,  then  do  ye  nat  as  goddys, 
For  agodd^i'  wrytyng  may  nat  reu^rsyd  be.    > 
Yef  hit  shuld  I  wold  nat  yeue  11  pesecoddys 
For  graunt  of  your  patent  of  offyce  ner  of  fee. 
Wherfore  in  thys  mater  do  me  equyte 

Accordyng  to  my  patent,  for  tyll  thys  be  do 

Ye  haue  no  more  my  s^-^uyce  nor  my  good  wvll  lo." 


477 
480 

483 
484 

487 


491 


494 


All  have 

fallen: 

Hector, 

Alexander, 

Ca;sar,  David, 

Joshua, 

Arthur, 

Charles, 

Judas   Macha- 

beus,  Godfrey, 


Nebuchad- 
nezzar, 
Pharao, 
Jason,  Her- 
cules, Cosdras 
Hannibal, 
Scipio, 
Cyrus  and 
Achilles. 


All  have  been 
brought  to 
their  end 
except  one. 


This  one  the 
gods  guard 
contrary  to 
their  agree- 
ment. 


Therefore 
justice  is 
demanded. 


1 6  Compact  of  Atropos  and  the   Gods. 

72 
And  when  all  the  godd^^  had  Attropos  herde,  498 

The  gods  all  As  tlicv  had  bc  woode  they  brayde  vp  at  oonys 

promise  their  ^  j  j  i.  . 

aid  in  destroy-   And  scydc  they  wold  nat  reste  tvH  he  were  conqueryd, 

ing  the  man.  " 

Taken  and  dystroyed,  boody,  blood  and  boonys;     501 
And  that  they  swere  gret  othes  for  the  noonys 

Her  lawe  to  dyspyce,  that  was  so  malapert. 

They  seyde  he  shuld  be  taught  for  to  be  so  pert.    504 

73 
Apollo  will        "Well,"  seyde  A])ollo,  "yef  he  on  erthe  bee,  505 

wi"h°hi"  car.'"^        Wyth  my  brcnnyng  chare  I  shall  hym  confound." 
"  In  feythe,"  quod  Neptun^j-,  "  &  yef  he  kepe  the  see, 

Neptune  will  f^g   ^^^^,   j^g   f^,]!   g^,J.g  |-,g  gj^g^]]   ^  ^        drOWUd."  So8 

drown  nim.  -  J 

"A  syr,"  seyd  Mars,  "thys  haue  we  well  fownd 
That  any  dysobeyed  owre  godly  precept, 
We  may  well  thynke  we  haue  to  long  slept.  511 

74 
Mars  will  piir-    "  But  neu^'/lhelesc  where  I  may  hym  fynde  512 

sue    him    with  -itt-;!  i  ii  i 

thunder  and  \N till  thuudrc  and  leyte  about  I  shall  hym  chase. 

lightning, 
Saturn  wil 


"And  I,"  quod  Saturn/zj-,  "before  and  behynde 


Mercury  will 


freeze  him,  W/t/^  my  bytter  coldc  shall  shew  hyw  hard  grase."   515 

"Well,"  seyd  M^xurius,  "yef  I  may  see  hys  fase, 
depnve'him  of  For  cucr  of  hys  spechc  I  shall  hym  depryue: 

speech.  ^  j  l     j 

So  that  hym  were  bettyr  be  dede  than  a  lyue."    518 

75 
Athena siig-       "Ye,"  quod  Othea,  "yet  may  he  well  be  qio 

gests  that  the  -^  •'  -^ 

offender  may  In  the  eyrc  whcrc  he  woll  &  ax  yow  no  leue, 

be  in  the  air,  "  -^ 

and  without       Whcrforc,  iiiv  counscll  ys  that  all  we 

help   of    EoUis 

their  anger  is  May  cntrctc  Ncptuttus  hys  ranco/^r  to  foryeue,  S22 

in  vain ;  there-  "  .-  ^ 

fore  she  coun-        And  then  I  dowte  not  Eolus  wyll  hym  myscheue  ; 

sels  that  Nep-  j  .  . 

time  forgive  So  may  yc  be  sewre  he  shall  vow  nat  escape, 

his  rancor.  " 

And  ellcs  of  all  your  angre  woll  he  make  but  a  iape." 


6 


power. 


But  I  have         But  for  to  tcll  VOW  how  Eolus  was  brought  526 

forgotten  to  ,-   -ni 

tell  you  how  In  daung^r  of  Pluto  vet  had  I  foryete, 

Eolus  came  ''-      ,  '    r        i  i ,'  t 

into  Pluto's        Wherfore  on  thys  mater  ferther  wyll  I  nought 

Procede,  tvll  I  therof  haue  knowleche  yow  lete.        529 
Hyt  fell  on  a  day  the  wedyr  was  wete 

we^hLr  Eolus,  And  Eolus  thought  he  wold  on  hvs  disport 

to  revive  his  r^       ^  •  \  4.  j  r       ^ 

spirits,  ^o  to  reioyse  hys  spyryt.?.?  and  comfort.  532 


Sfo/y  of  Eohis. 


17 


77 
He  thought  he  wold  see  what  was  in  the  grownd,        533 

And  in  a  krauers  forthe  he  gan  hym  dresse. 
A  drowthe  had  the  erthe  late  before  fownd 

That  causyd  hit  to  chyne  &  krany  more  and  lesse.   536 
Sodeynly  by  weet  constreynyd  by  duresse 

Was  the  ground  to  close  hys  sup^^vfyciall  face 
So  strayte  that  to  scape  Eolus  had  no  space.         539 
78 
Thvs  seyng  Eolus  he  stvll  w/t//yn  aboode,  540 

Sekyng  where  he  myght  haue  goon  out  fef  or  nere. 
Anone  he  was  aspyed  and  ooii  to  Pluto  roode 

And  told  hym  how  Eolus  was  in  hys  daungere.         543 
Then  seyde  he  to  Cerberus,  "  Fet  me  that  prysonere  ■ 
Till  I  haue  hym  scene;  let  him  nat  go  at  large. 
As  thow  wylt  answeP  of  hym  I  yeue  pQ  charge."  546 

79 
Thus  was  thys  Eolus  take  prvsoner.  547 

Then  happyd  hit  so  that  the  same  day 
Pluto  had  p/rfyxyd  for  a  gret  mater 

Mynos  to  syt  in  his  roob  of  ray.  550 

Wherfore  Cerberus  tooke  the  next  way 

And  led  hym  to  the  place  where  the  court  shalbe, 
Whedyr  as  I  tolde  yow  Morpheus  brought  me.     553 
80 
So  thedyr  came  Diana  caryed  in  a  carre,  554 

To  make  her  compleynt  as  I  told  yow  all. 
And  so  dyd  Neptun/zi-,  that  dothe  bothe  make  &  marre, 
Walewyng  w/t/i  hys  wawes  &  tomblyng  as  a  ball.      5^7 
Her  matyrs  they  meuyd  fall  what  may  befall. 
Ther  was  the  furst  svght  that  Q.\\er  I  they;,'/!  sawe, 
And  yef  I  neu,-';-  do  efte  I  rekke  nat  a  strawe.       560 
81 
Bot  now  to  my  matvr  to  returne  ageyfi  561 

x\nd  to  begynne  newe  where  I  left  — 
When  all  the  godd/fi-  had  done  her  besy  peyfi 

The  wey  to  contryue  how  he  shuld  be  reft  564 

Of  hys  lyfe,  that  Attropos  had  no  cause  eft 

To  compleyn,  than  Pheb[e]  styrt  vppon  her  fete 
And  seyd,  "  I  pray  yow  let  me  speke  a  worde  yete:  567 


entered  the 
earth  by  a 
crevice,    which 
was  com- 
pressed by  the 
water,  shutting 
Eolus  in. 


He  was 
reported  to 
Pluto,  who 
ordered  Cer- 
berus to  take 
charge    of    the 
prisoner. 


On  that  day 
the  court  of 
Minos  sat, 
whither    Eolus 
was  brought  as 
I  have  told 
you, 


and  there 
Diana  and 
Neptune  made 
their  com- 
plaints as  I 
said. 


To  return  to 
my  matter  of 
Atropos. 


Phebe  wishes 
to  speak. 


Reconciliation  with  Eolus. 


She  alone 
dares  to  entreat 
Neptune 


to  leave  all  old 
rancor. 


Neptune 
forgives. 


Eolus  agrees 
to  afflict  the 
offender  with 
his  blasts. 


Pluto  asks 
their  enemy's 
name. 

Atropos 
replies  that  it 
is  Virtue ; 
whereat  Pluto 
grants  his 
assistance 


82 

"Othea  meneth  well  to  sey  on  thys  wyse,  568 

But  all  to  entrete  Neptunz/.r,  I  hope,  shall  iiat  nede. 
Me  semeth  I  alone  durst  take  that  entyrpryse 

Er  1  am  begylyd,  or  elles  I  shall  spede.  571 

How  say  ye,  Neptun/^j-,  shall  I  do  thys  dede? 
Wyll  ye  your  rancour  sese  at  mv  request?" 
"  Madame,"  quod  he,"reule  me  as  ye  lykethbest."  574 

S3 
"Gramr/-cy,"  sevd  she,  "of  \our  good  wvU  575 

That  hit  pleseth  yow  to  shew  me  that  fauo^r, 
Wherefore  the  godd^j-  hygh  plesure  to  fulfvll, 

Pr/'forme  my  desyre  &  leeue  all  olde  x'Awcoiir,  5 78 

For  our  aldyrs  wele  &  sauyng  of  our  hono/^r, 
Ageyn  thys  Eolus  that  ye  long  haue  had." 
"  Hyt  ys  doon,"  quoth  he,  "  forsoth  then  am  I  glad." 
84 
Seyde  he,  "iVbw  then,  Eolus,  be  thow  to  vs  trew,        582 

Kepe  well  the  eyr,  and  owre  gret  rebell 
May  we  then  soone  Q.wer  to  vs  subdew." 

"Yes  and  that,"  quod  Eolus,  "shall  ve  here  tell      585 
No  where  in  the  eyre  shall  he  reste  nor  dwell. 
Yef  he  do  therof,  put  me  in  defaute, 
W/t//  my  bytter  blastys  so  shall  I  hvni  asaute."     588 
'85 
"What,"  seyde  the  god  Pluto,  "what  ys  hvs  name       589 

That  thus  p/rsumeth  agevh  vs  to  rebell?" 
"V(!';-tew,"  quod  Attropos,  "that  haue  he  mykyll  shame, 
He  ys  neu^r  confoundyd,  thus  of  hym  here  I  tell."   592 
"A,"  seyde  thys  Pluto,  "  in  dede  I  know  hym  well, 
He  hathe  be  eu^r  myn  vtter  enemy. 
Wlierfore  thys  mater  agevii  hvm  take  wvll  I.         595 
86 
"For  all  the  bavtys  that  ye  for  hvm  haue  leyde,  596 

W/t//out  myn  helpe,  be  nat  worth  a  peere. 
For  though  ye  all  the  contrary  had  seyde, 

Yet  wolde  he  breede  ryght  nygh  your  althrys  eere.   599 
No  man^r  of  thyng  can  hym  hurt  nor  dere 
Saue  oonly  ooh,  a  sofi  of  mvn  bastard, 
Whos  name  ys  Vyce  —  he  kepeth  my  vaward.       602 


Tlie    Vices. 


19 


87 
"Wherfore,  yovv  Cerberus,  now  I  the  dyscharge  603 

Of  Eolus,  and  wyll  that  thow  hydyr  fette 
My  dere  son  Vyce,  &  sey  that  I  hym  charge 

That  he  to  me  come  w/t/^out  any  lette,  606 

Armyd  at  all  poyntes,  for  a  day  ys  sette, 

That  he  wiih  Vertew  for  all  the  godd^J  sake, 
In  our  defense  must  on  hym  batayll  take."  609 

88 
Forthe  then  went  Cerberus  w/t//  hys  fyry  cheyne  610 

And  brought  thedyr  Vyce,  as  he  coz/zmaundyd  was, 
Ageyn  noble  Vertew  that  batayll  to  dereygne. 

On  a  glydyng  sifrpent  rydyng  a  gret  pas,  613 

Formyd  lyke  a  dragori,  scalyd  harde  as  glas, 
Whos  mouth  fiamyd  feere  w/t//out  fayll. 
Wjngys  had  hit  s^rpentyne  and  a  long_tayll.        616 
89 
Armyd  was  Vyce  all  in  cure  boyle,  617 

Hard  as  any  horn,  blakker  fef  then  soot. 
An  vngoodly  soort  folowyd  hym  parde, 

Of  vnhappy  capteyns  of  myschyef  croppe  &  roote.    620 
Pryde  was  the  furst  pa\.  next  hy;«  roode,  God  woote, 
On  a  roryng  lyoii ;  next  whom  came  Enuy, 
Syttyng  on  a  wolfe — he  had  a  scorhfull  ey.  623 

90 
Wrethe  bestrode  a  wylde  bore,  and  next  hem  gan  ryde. 

In  hys  hand  he  bare  a  blody  nakyd  swerde. 
Next  whom  came  Couetyse,  that  goth  so  fer  and  wyde, 
Rydyng  on  a  olyfaunt,  as  he  had  beii  aferde.  627 

Aftyr  whom  rood  Glotony,  w/t/^  hys  fat  berde, 
Syttyng  on  a  bere,  w/t/;  hys  gret  bely. 
And  next  hym  on  a  goot  folowyd  Lechery.  630 

91 
Slowthe  was  so  slepy  he  came  all  behynde  631 

On  a  dull  asse,  a  full  wery  pase. 
These  were  the  capyteyns  that  Vyce  cowde  fynde 

B[e]st  to  set  hys  felde  and  folow  on  the  chase.         634 
As  for  pety  capteyns  many  mo  the[r]  wase; 
As  Sacrylege,  Symony,  &  Dyssimulacion, 
Manslaughti^r,  Mordre,  Theft  iS:  Extorcion,  637 


and  sends 
Cerberus  to 
bring  Vice  to 
make  battle 
with  Virtue. 


Cerberus  leads 
forward  Vice 
who  comes 
riding  on  a 
winged  serpent 
breathing  fire. 


Following  him 
is  a  host  of 
captains,  Pride 
on  a  lion, 
Envy  on  a 
wolf, 


Wrath  on  a 
wild-boar, 


Covetousness 
on  an  elephant 


Gluttony  on  a 
bear. 


Lechery  on  a 
goat, 

Sloth  on 
an  ass. 


Inferior 
captains  are: 
Sacrilege, 
Simony,  etc. 


20  The    Vices. 

92 
Arrogaunce,  P^rsiinipcion,  w/t//  Contumacy,  638 

Contewpcion,  Contempt,  (Sc  Inobedicnce, 
Malyce,  Frowardnes,  Gret  lelacy, 

Woodnesse,  Hate,  Stryfe,  and  Impacience,  641 

Vnkyndnesse,  Opj)ression,  w/t//  Wofull  Negl^-gence, 
Murmo^r,  Myschyef,  Falshood  &  Detraccion, 
Vsury,  IVriury,  Ly,  and  Adulacion,  644 

93 
Wrong,  Rauyne,  Sturdy  Vyolence,  645 

False  lugement,  wilh  Obstynacy, 
Dysseyte,  Dronkenes,  and  Improuydence, 

Boldnes  in  Yll,  wMi  Foule  Rybaudy,  648 

Fornycacion,  Incest,  and  Auoutry, 
Vnshamefastnes,  w/t//  Prodygalyte, 
Blaspheme,  Veynglory,  &:  Wordly  Vanvte,  651 

94 
Ignoraunce,  Diffydence,  w/t//  Ipocrysy,  652 

Scysme,  Rancoz^r,  Debate,  &  Offense, 
Heresy,  Erro//r,  whh  Idolatry, 

New-Fangylnes,  &  sotyll  False  Pretense,  655 

Inordinat  Desyre  of  Worldly  Excellense, 
Feynyd  Pouert,  w/t//  Apostas}-, 
Disclaundyr,  Skorne,  &  Vnkynde  lelousy,  658 

95 
Hoordam,  Bawdry,  False  Mayntenaunce,  659 

Treson,  Abusion,  &  Pety  Brybry ; 
Vsurpacion,  w/t//  Horryble  Vengeaunce, 

Came  alther  last  of  that  company.  662 

All  these  pety  capteyns  folowyd  by  &  by, 
Shewyng  theyz/^sylf  in  the  palyse  wyde, 
And  seyde  they  were  redy  that  batayll  to  abyde.  665 
96 
There  is  a  host   Idylncssc  sct  the  comoHS  in  arav  666 

of  commons  •"  •' 

led  by  Idleness,       W/t//out  the  palcysc  OH  a  fayre  felde. 

But  there  was  an  oost  for  to  make  a  fray ! 

I  trow  suche  another  neu(?r  man  behelde  !  669 

Many  was  the  wepyn  among  hew  ^at  ^ey  welde ! 
What  pepyll  they  were  that  came  to  that  dysport 
I  shall  yow  declare  of  many  a  sondry  sort.  672 


The    Vices. 


21 


97 

Ther  were  bosters,  braggars,  &  brybores, 

Praters,  fasers,  strechers,  &  wrythers, 
Shamefull  shakerles,  soleyn  shaueldores, 

Oppressours  of  pepyll,  and  myghty  crakers, 
Meyntenours  of  querelles,  horryble  lyers, 
Theues,  traytours,  w/t/^  false  herytykes, 
Charmers,  sorcerers,  &  many  scismatykes, 
98 
Prvuy  symonyak<?i-,  w/t/;  false  vsurers, 

Multyplyers,  coyn  wasshers  &  clyppers, 
Wrong  vsurpers,  w/t/i  gret  extorcioners, 
Bakbyters,  glosers,  &  fayre  flaterers, 
Malycious  murmurers,  wixh  grete  claterers, 
Tregetours,  tryphelers,  feyners  of  tales, 
Lastyuyous  lurdeyns,  &  pykers  of  males, 

99 
Rowners,  uagabound^J",  forgers  of  lesyng^^, 

Robbers,  reuers,  rauenouse  ryfelers. 
Choppers  of  churches,  fynders  of  tydyng(fj, 
Marrers  of  maters,  &  money  makers. 
Stalkers  by  nyght,  wkh  euesdroppers, 
Fyghters,  brawlers,  brekers  of  lofedayes, 
Getters,  chyders,  causers  of  frayes, 
100 
Tytyuyllys,  tyrauntifi",  w/t/2  turmentoures, 

Cursyd  apostatifj-,  relygyous  dyssymulers, 
Closshers,  carders,  \vi\h  comon  hasardoures, 
Tyburne  coloppys,  and  pursekytters, 
Pylary  knyght<?^,  double  tollyng  myllers, 

Gay  ioly  tapsters,  w/t/z  hostelers  of  the  stewes, 
Hoores,  and  baudys  —  that  many  bale  brewes, 

lOI 

Bolde  blasphemers,  w/t/z  false  ipocrytes, 

Brothelles,  brokers,  abhomynable  swerers, 
Dryuylles,  dastard<?i-,  dyspysers  of  ryghtes, 
Homycydes,  poyseners,  &  comon  morderers, 
Skoldes,  caytyffys,  comborouse  clappers, 

Idolatres,  enchauntours,  w/t/i  false  renegates, 
Sotyll  ambidextres,  &  sekers  of  debates. 


673     boasters, 

braggers,  etc. 


676 
679 


683 

686 
687 

690 

693 
694 

697 

700 

701 

704 

707 


22 


The    Vices. 


Apollo  wishes 
to  send  a 
herald  to  warn 
Virtue, 


Pseudo  pr^phetes,  false  sodomytes,  708 

Ouelmers  of  chvldren,  wMi  fornvcatours, 
Wetewold^j-  that  suffre  svn  in  her  svghtes, 

Auouterers,  &  abhominable  aiiauntours  711 

Of  syn,  gret  clappers,  &  makers  of  clamours ; 
Vnthryftys,  &  vnlustes  came  also  to  that  game, 
AV/t//  luskes,  &:losellesthatmvght  nat  thrvue  for  shame. 
103 
These  were  the  comons  came  thedyr  that  day  715 

Redy  bowne  in  batayll  V^rtew  to  abyde. 
Apollo,  theym  beholdyng,  began  for  to  say 

To  the  godd^J  &  goddesses  beyng  there  that  tvde,    718 
"Me  seemeth  conuenvent  an  herowde  to  rvde 

To  V^/'tew,  &  byd  hvm  to  bata_vll  make  hym  bone, 
Hvnisylf  to  defende,  for  sought  he  shalbe  sone.     721 
104 
"And  let  hvm  nat  be  sodenlv  take  722 

All  dyspurueyde  or  then  he  beware, 
For  then  shuld  our  dyshono//r  awake 
Vice  protests.         Yef  he  were  cowardly  take  in  a  snare."  725 

"  Ee,"  quod  Vyce,  "  for  that  haue  I  no  care. 
I  will  auauntage  take  where  I  may." 
That  heryng,  Morpheus  pryuyly  stale  away,  728 

105 
But  Morpheus    And  went  to  warne  V<r/-tew  of  all  thys  afray,  729 

pr"parrvirtue       And  bade  hym  awake  &  make  hymsylf  strong, 
For  he  was  lyke  to  endure  that  day 

A  gret  mortall  shoure,  er  hit  were  euesong,  732 

W/t//  Vyce,  wherfore  he  bade  him  nat  long 
Tary  to  sende  aftvr  more  socour — 
Yef  he  dede,  hit  shuld  turnc  hym  to  dolour.         735 
106 
And  brefely  the  matvr  to  hvm  he  dcclaryd,  736 

Lyke  as  ye  haue  herde  begynnyng  &  ende. 
**Well,"  quoth  V^rtu,"he  shall  nat  be  sparyd. 

To  the  felde  I  wyll  wende  how  hit  wende.  739 

But  gram^/'cy,  Morpheus,  myii  owne  dere  frende. 
Of  your  trew  hert  &  feythefull  entent 
That  ve  in  thvs  mater  to  mc  ward  haue  ment."    742 


The    Virtues. 


23 


107 
Thys  doon,  Morpheous  departyd  away  743 

Fro  V(?;-tu  to  the  palyce  retornyng  ageyn. 
Nooii  hym  aspved,  that  I  dar  well  say. 

In  whyche  tyme  Vrrtew  dyd  hys  besy  peyn  746 

Pepyll  to  reyse  hys  quarell  to  menteyn. 
Ymaginacion  was  hys  messyngere  — 
He  went  to  warne  pepyll  bothe  fef  &  nere.  749 

108 
And  bade  hem  come  in  all  the  haste  they  myght  750 

For  to  streyngthe  V^rtu,  for,  w/t/^out  fayll, 
He  seyde  he  shuld  haue,  long  or  hit  were  nyght, 

W/tA  Vyce  to  do  a  myghty  strong  batayll ;  753 

Of  vngracious  gastes  he  bryngeth  a  long  tayll. 
"  Wherfore  hit  behoueth  to  helpe  at  thys  nede 
And  aftyr  thys  shall  V<f/-tu  rewarde  yowre  mede."    756 
109 
When  Imaginacion  had  goofi  hys  cyrcute  757 

To  V<:7-tews  frendys  thus  all  aboute, 
W/t//yn  short  tyme  many  men  of  myght 

Gaderyd  to  V^rtew  in  all  that  they  mowte.  760 

They  hym  com  forty d  &  bad  hym  put  no  dowte 
Hys  vttyr  enemy  Vyce  to  ouerthrow, 
Though  he  w/t/;  hym  brought  neuifr  so  gret  arow. 
1 10 
And  when  V(?/-tew  sy  the  substaunce  of  hys  oost,  764 

He  prayed  all  the  coraons  to  the  felde  hem  hy, 
W/t//  her  pety  capteynys  both  lest  &  moost, 

And  he  w/t/^  hys  capteynys  shuld  folow  redyly.        767 
For  he  seyde  he  knew  well  that  Vyce  was  full  ny. 
And  who  myght  furst  of  the  felde  recouer  the  centre 
Wold  kepe  out  that  other  he  shuld  natesyly  entre.  770 


Virtue  makes 
ready,  sending 
out  his 
messenger, 
Imagination, 
to  bid  his 
people  to  come 
into  his  help. 


Virtue's  host 

assembles. 


They  are  led 
towards  the 
field. 


Then  sent  he  forthe  Baptym  to  the  felde  before,  771 

And  prayed  hym  hertyly  hit  to  ouerse, 
That  no  man^r  trayne  nor  caltrop  theryn  wore 

To  noy  nor  hurt  hym  nor  hys  meyne.  774 

And  whefi  he  thedyr  came  he  began  to  see 
How  Vyce  hys  purseuaunte,  Cryme  Oryginall, 
Was  entryd  before  and  had  sesvd  vp  all.  777 


Baptism  is 
sent  to  spy  out 
the  ground. 


Original  Sin 
had  entered 
before  him 


24 


The    J'irtues. 


but  fled  at 
Baptism's 
approach. 


Virtue  and  his 
host  follow. 


Virtue  leads, 
sitting  in  a  car 
adorned  with 
gold  and 
stones,  and 
crowned  with 
laurel. 


Four  knights 
guide  the  car. 
Righteousness, 
Prudence, 
Strength  and 
Temperance. 


Following 
Virtue  come 
seven  captains 
each  with  an 
appropriate 
crest,  Humility 
on  a  lamb, 


Charity  on  a 
tiger, 


Patience  on  a 
camel, 


Liberality  on  a 
dromedary, 


But  as  sone  as  herof  Baptym  had  a  syght,  778 

He  fled  fast  awey  and  left  tlie  felde  alone. 
And  anone  Bablyiu  cntred  \\h/i  hys  mvght, 

Serchyng  all  about  where  thys  Crynie  had  gone.      781 
But  the  felde  was  clene  defaute;  fonde  he  none. 
Then  cam  V^vtew  aftvr  wii/i  hys  gret  oost, 
And  hys  myglity  capytayns,  bothe  leste  &  moost.  784 

113 

But  to  enforme  vow  howe  he  thcdyr  came,  785 

And  what  mzncr  capyteyns  he  to  the  felde  brought  — 
Hymsylfe,  sekerly,  was  the  furst  man 

Of  all  hys  gret  boost  that  thedyrward  sought, 
Syttyng  in  a  chare  that  rychely  was  wrought, 
With  golde  &  peerles  &  gemmes  prii'cious, 
Crownyd  wixh  laurer  as  lord  vyctorvous. 


788 


791 


114 


792 


795 


Foure  dowty  knyghtys  about  the  chare  went 

At  enery  corncv  on  hit  for  to  gyde, 
And  convey  accordvng  to  V^;-tew  hys  entent. 
At  the  furst  comer  was  Ryghtwysnes  that  tyde, 
Prudence  at  the  second  was  set  to  abyde, 

At  the  thryd  Streyngth,  the  fourth  kept  Temp<fraunce. 
These  the  chare  gydyd  to  Yeritw  hys  plesaunce.798 

115 
Next  to  the  chare,  seuen  capteyns  the?  roode,  799 

Ychone  aftyr  other  in  ordre  by  and  by. 
Humylyte  was  the  furst  ;  a  lambe  he  bestroode. 

W/t/i  countenaunce  demure  he  roode  full  soburly.   802 
A  fawcmi  gentyll  stood  on  hys  helme  on  hy. 
And  next  aftvr  hvm  came  there  Charyte 
Rydyng  on  a  tvgre,  as  fvU  to  hys  degre. 
116 
Roody  as  a  roose  ay  he  kept  hvs  chere. 

On  hys  helme  on  hygh  a  pellycan  he  bare. 
Next  whom  came  Pacyence,  pciX.  nowhere  hath  no  pere, 
On  a  camell  rvdyng,  as  vovde  of  all  care.  809 

A  fenyx  on  hys  helme  stood.       So  forthe  gan  he  fare. 
Who  next  hym  folowyd  but  Lyberalyte, 
Syttyng  on  a  dromedary,  ^(?t  was  bothe  good  &  free. 


805 


806 


Abstinence  on 


The    Virtues.  25 

117 
On  hys  helme  for  hys  crest  he  bare  an  ospray.  813 

And  next  aftyr  hym  folowyd  Abstynence, 
Rydyng  on  an  hert,  hys  trapure  was  gay,  a  hart, 

He  semyd  a  lorde  of  ryght  gret  excellence.  816 

A  popyniay  was  hys  crest ;  he  was  of  gret  dyffence. 

Next  hvm  folowyd  Chastyte  on  an  unycorn,  Chastity  on  a 

-'  -  -'  J  ^  unicorn, 

Arymd  at  all  poyntd'jr  behynde  and  beforfi.  819 

118 
A  turtyldoue  he  bare  an  hygh  for  hys  crest.  820 

Then  came  Good  Besynesse,  last  of  the  seuyn,  ^  a^Vfr"-^'""* 

Rydyng  on  a  panter,  a  sondry  colouryd  best,  coloured  beast. 

Gloryously  beseene  as  he  had  come  from  heuyn.      823 
A  crane  on  hys  hede  stood,  hys  crest  for  to  steuyn. 

All  these  seuyn  capteynes  had  standardifi'  of  pryce,      bifa'r^ "^*^'° 
Eche  of  hem  acordyng  aftyr  hys  deuyse.  826   T^^llt^'"^ 

119 
Many  pety  capteyns  aftyr  these  went,  827    Manj;  minor 

J    >•       -  ^       ■■  -  '     captains  come 

AsTrew  Feythe,  &  Hoope,  Mercy,  Peese,  &  Pyte,  next  True 

'■  •'  '  J       '  Faith,  Hope, 

Ryght,  Trowthe,  Mekenesse,  wiih  Good  Entent,  etc. 

Goodness,  Concorde,  &  Parfyte  Vnyte,  830 

Honest  Trew  Loue,  w/t//  Symplycyte, 
Prayer,  Fastyng,  Preuy  Almysdede, 
loynyd  \\ix.h  the  Artycles  of  the  Crede,  833 

120 
Confession,  Contrycion,  and  Satysfaccion,  834 

W/t/i  Sorow  for  Synne,  &  Gret  Repentaunce, 
Foryeuenes  of  Trespas,  \Mi\h  Good  Dysposicion, 

Resystence  of  Wrong,  P(?rformyng  of  Penaunce,     837 
Hooly  Deuocion,  whh  Good  Contynuaunce, 

Preesthood  theym  folowyd  w/t//  the  Sacr<zment^5-, 
And  Sadnesse  also  w/t//  the  Cowmaundement^'i',  840 
121 
Sufferaunce  in  Trowble,  w/t//  Innocency,  841 

Clennesse,  Continence,  and  Virginite, 
Kyndnesse,  Reu,f;-ence,  w/'t//  Curtesy, 

Content  &  Plesyd  w/t//  Pyteous  Pou^rte,  844 

Entendyng  Well,  Mynystryng  Equyte 

Twene  ryght  &  wrong,  Hoole  Indyfferency, 

And  Laboryng  the  Sifruyce  of  God  to  Multyply,  847 


26 


The    Virtues. 


Virtue  refuses 
some  captains, 
Nigromancy, 
etc. 


Refuse  of  Rychesse  &  Worldly  Veynglory,  S48 

P^rfeccion,  \v/t>^  Parfyte  Contemplacion, 
Relygyon,  Profession  well  kept  in  Memory, 

Verrey  Drede  of  God,  whh  Holy  Prifdycacion,         851 
Celestiall  Sapience,  \\i\.h  Goostly  Inspiracion  ; 
Grace  was  the  guyde  of  all  thys  gret  rneyny. 
Whom  folowyd  Konnyng  w/t//  hys  genalogy —    854 
123 
That  ys  to  sey,  Gramrr,  and  Sophystry,  855 

Philosophy  Naturall,  Logyk,  &  Rethoryk, 
Arsmetry,  Geometry  W7t//  Astronomy, 

Canon  &  Cyuyle,  melodyous  Musyk,  858 

Nobyll  Theology,  and  Corporall  Physyk, 
Moralizacion  of  Holy  Scripture, 
Profounde  Poetry  and  Drawyntr  of  Picture- 


who  then 
choose  Vice  as 
their  master 


124 


861 


862 


These  folowyd  Konnyng  &  thedyr  w/t//  hym  came, 

W/t/;  many  oofi  moo  offryng  her  sr;-uyce 
To  V^/'tevv  at  that  nede;  but  natw/t//standyng  than 

Som  he  refusyd  and  seyde  in  nowyse  865 

They  shuld  w/t//  hym  go,  and,  as  1  coude  auyse, 
These  were  her  names:  fyrst,  Nygromansy, 
Geomansy,  Magyk,  and  Glotony,  868 

125 
Adryomancy,  Ornomancy,  w/t//  Pyromancy,  869 

Fysenamy  also,  and  Pawmestry, 
And  all  her  sequelys,  yef  I  shult  nat  ly. 

Yet  Konnyng  prayed  Ncr\.w  he  wold  nat  deny         872 
Theym  for  to  know  nor  dysdeyne  w/t//  hys  ey 
On  hem  to  loke,  wherto  V^rtew  grauntyd. 
Ho\v[be]hitinhyswerreshewoldnaty5eyhau;/tyd.S75 
126 
So  had  they  Connyng  lyghtly  to  depart  876 

From  V^rtew  hys  felde,  and  they  seyng  thys 
By  comon  assent  hyryd  theym  a  cart 

And  made  hem  be  caryed  toward  Vyce  y-w\-s.  879 

Fro  thensforth  to  s<?rue  hym  they  wold  nat  mys. 
Full  lothe  they  were  to  he  mastyrles; 
In  stede  of  the  bettyf  the  worse  the?  they  ches.    882 


The    Virtues. 


27 


127 
But  foorth  to  relese  all  the  remenaunt  883 

Of  pety  captevns  that  wz't/^  Vtrtu  were, 
Moderat  Dyete,  &  Wysdom  auenaunt, 

Euyn  Wyght  &  Mesure,  Ware  of  Contagious  Geere,  886 
Lothe  to  Offende,  and  Louyng  ay  to  Lere, 
Worshyp,  &  Profyt,  w/tA  Myrthe  in  Manere, 
These  pety  capteyns  w/t/;  Vf^rtew  were  in  fere.     889 
128 
Comones  hem  folowyd  a  gret  multitude.  890 

But  in  [comparyson]  to  that  other  syde 
I  trow  ther  was  nat,  brefely  to  conclude, 

The  x""    man  that  batayll  to  abyde.  893 

Yet  neudTthelese,  I  shall  nat  fro  yow  hyde 

What  man^r  pepyll  they  were  &  of  what  secte. 
As  neere  as  my  wvt  therto  wyll  me  dyrecte.  896 

129 
Thei"  were  notable  and  famous  doctours, 

Example  yeuers  of  lyuyng  gracyous, 
Pifrpetuell  prestes  and  dyscrete  confessours, 

Of  Holy  Scriptur  declares  fructuous,  900 

Rebukers  of  synne  &  myschefe'i"  odyous, 
Fysshers  of  fowles,  &  lovers  of  clennes, 
Dyspysers  of  veyii  &  worldly  ryches,  903 

130 
Pesyble  p/'rlates,  iustyciall  gou^z-nours,  904 

Founders  of  churches,  w/t/?  m^/-cyfull  peeres, 
Reformers  of  wrong  of  her  progenitours 

On  peynfull  poore  pyteous  compassioners,  907 

Well  menyng  m^rchauntifi',  w/t//  trew  artyfyceres, 
Vyrgyns  pure,  and  also  innocentif^-, 
Hooly  matronys,  with  chaste  contynentifi',  910 

131 
Pylgryms,  &  palmers,  w/t/?  trew  laborers,  911 

Hooly  heremytes,  goddifi'  solycitours, 
Monasteriall  monkes,  &  well  dysposyd  freres, 

Chanons,  &  nonnes,  feythfull  professoures,  914 

Of  worldly  peple  trew  coniugatoures, 
Louers  of  Cryst,  confounders  of  yll, 
And  all  that  to  godward  yeue  her  good  wyll,        917 


Other  minor 
captains  with 
Virtue  are 
Moderate 
Diet,  etc. 


A  great 
multitude  of 
commons 
follows,  yet 
numbering  no 
one -tenth  of 
Vice's  host. 


Qqw     There  are 


famous 
doctors  etc. 


28 


The    Virtues;  the  Field. 


TTie  name  of 
the  field  is 
Microcosm. 


In  the  midst 
is  Conscience, 
the  judge  of 
the  combat. 


Five  highways 
lead  to  the 
field. 


Thither  Virtue 
hastens. 


Meanwhile 
Original 
Sin  had 
reported  to 
Vice. 


Mayntenours  of  ryght,  verrey  penytent^j,  918 

Distroyers  of  errour,  causers  of  Vnyte, 
Trew  actyf  lyuers  that  set  her  ententri- 

The  dedes  to  pr/-fornie  of  xwercy  and  pvte,  921 

Conteinplatyf  peple  that  desyre  to  be 
Solvtarv  srruaiinti''j-  vnto  God  alone, 
Rather  then  to  haboundc  in  rvchesse  eu^?-vchone.  924 

These,  w/th  many  mo  then  I  reherse  can,  925 

Were  come  thedyr  redy  that  batavll  to  abvde, 
And  take  such  part  as  fyll  to  V^^rtew  than. 

Vyce  to  ou<r/-come  they  hopyd  for  all  hys  prvde,      928 
All  though  that  he  had  more  pepyll  on  hys  syde, 
For  the  men  that  V<^/-tu  had  were  full  sewre 
To  trust  on  at  Nede  &  Konnyng  in  arniure.         931 

134 
Macrocosine  was  the  name  of  the  felde 

Where  thys  gret  bataylewas  set  for  to  be. 
In  the  mvddes  therof  stood  Conscience,  &  behelde 
Whyche  of  hem  shuld  be  brought  to  captyuyte. 
Of  that  nobyll  tryuwphe  iuge  wold  he  be. 

Synderesys  sate  hyw  w/t//yn    closyd  as  in  a  parke, 
W/t/i  hys  tables  in  hys  hand  her  dedys  to  marke.  938 

135 
To  come  in  to  the  felde  were  hygh  weyes  fyue,  939 

Free  to  bothe  partyes,  large,  broode  and  wyde. 
Vertu  wold  nat  tary,  but  hyghyd  hym  thydyr  blyue, 
Lest  he  were  by  Vyce  deceuyd  at  that  tyde.  942 

Long  out  of  the  felde  lothe  he  was  to  abyde, 
In  auentur  that  he  out  of  hyt  were  nat  kept. 
For  then  wolde  he  haue  thought  he  had  to  long  slept. 
136 
In  thys  mene  tyme  whyle  W/-tu  thus  preuvdvd  946 

For  hym  and  hys  pepyll  the  feld  for  to  wvnne, 
He  chargvd  eurrv  man  by  Grace  to  be  guydvd, 

And  all  that  eurr  myght  the  felde  to  entre  ynne.     949 
In  all  that  seson  went  Orygynall  Synne 

To  lete  Vyce  know  how  Baptym,  w/t//  hys  oost, 
Had  entryd  Macrocosme  &  serchyd  euf^y  coost.     952 


932 


935 


The  Battle  of  the    Vices  and   Virtues. 


29 


137 


953 


956 


"A,"  seyde  Vyce,  "  than  I  se  well  hit  ys  tyme 
Ban^rs  to  dysplay  &  standardys  to  auaunce. 
Allmost  to  long  haddyst  thow  taryed,  Cryme, 
To  let  vs  haue  knowlege  of  thys  puruyaunce. 
Yet  I  trow  I  shall  lerne  hem  a  new  daunce. 
Wherfore  I  co;«maunde  yow  all  w/t/fout  delay 
Toward  the  felde  drawe,  in  all  the  haste  ye  may."  959 
138 
Then  seyde  the  god  Pluto  that  all  men  mvght  here,   960 

"Vyce,  I  the  charge,  as  thow  wylt  eschew 
Our  heynous  indignacion,  thow  draw  nat  arere 

But  put  the  forthe  boldly  to  ou^rthrow  V<?rtew."      963 
"In  feythe,"  quoth  Attropos,  "and  I  shall  aftyr  sew 

For  yef  he  escape  your  handys  thys  day, 
/  I  tell  yow  my  scvuyce  haue  ye  lost  for  ay."  966 

139 
Forthe  then  rode  Vyce  w/t//  all  hvs  hoole  streyngth,    967 

On  hys  steede  s^rpentyfi,  as  I  tolde  yow  before. 
The  oost  that  hym  folowyd  was  of  a  gret  leyngth. 

Among  whom  were  penowns  &  guytornes  many  a  score. 
But  as  he  went  thederward  —  I  shall  tell  yow  more 
Of  hys  pety  capteyns — -he  made  many  a  knyght, 
For  they  shuld  nat  fie  but  manly  w/t/i  hym  fyght.  973 
140 
He  dubbyd  Falshood,  wilh  Dyssymulacion, 

Symony,  Vsure,  Wrong,  and  Rebawdy, 
Malyce,  Deceyte,  Ly,  wiX-h  Extorcion, 
Pifnury,  Diffidence,  and  Apostasy, 
W/t/i  Boldnesse  in  Yll  to  bere  hem  company  — 
These  kiiii  knyghtifj-  made  Vyce  that  day ; 
To  Wynne  theyr  spores   they  seyde  they  wold  asay. 
141 
In  lyke  wyse,  Vertew  dubbyd  on  hys  syde  981 

Of  hys  pety  capteynes  other  fourtene, 
Whyche  made  her  avowe  w/t/?  hym  to  abyde. 

Her  spores  wold  they  wynne  paX.  day,  hit  shuld  be  sene 
These  were  her  names,  yef  hit  be  as  I  wene  : 

Feythe,  Hope  and  yiercy,  Trouthe,  &  also  Ryght, 
W/t/i  Resystence  of  Wrong,  a  full  hardy  wyght,      987 


974 


977 


Vice  com- 
mands the 
standards  to 
advance. 


Pluto  charges 
yice  to  over- 
throw Virtue. 


If  he  fail, 
Atropos 
threatens  to 
withdraw  his 


Vice  and  his 
host  advance. 


As  they 
march  Vice 
dubs  fourteen 
knights, 
Falsehood,  etc 


Virtue  makes 
a  similar 
number, 
Faith,  etc. 


3° 


The  Battle  of  the    Vices  and   Virtues. 


The  lord  of 
Microcosm 
is  Freewill,  to 
whom  Virtue 
sends  three 
ambassadors 
to  sue  his 
favor. 


In  like  wise 
Vice  sends 
three. 


Freewill  gives 
an  ambiguous 
answer. 


Vice  sends 
forth  as  a  spy 
Sensuality, 


142 

Confession,  Contricion,  wi\.h  Satisfaccion,  988 

Verrey  Drede  of  God,  Performvng  of  Penaunce, 
P^rfeccvon,  Konnvng,  and  Good  Dysposicion. 

And  all  knyt  to  Wrtu  they  were  by  allyaunce.  991 

Wherfore  to  hym  they  made  assewraunce, 
That  felde  to  kepe  as  long  as  they  myght 
And  in  hvs  quarell  agevh  Vvce  to  fvght.  994 

M3 
The  Lord  of  Macrocosme  and  rewier  of  that  fee         995 

Was  callyd  Frewyll,  chaunger  of  the  chaunse, 
To  whom  V^rtew  sent  embassatours  three, 

Reson,  Discresion,  &  Good  Rernembraunse,  998 

And  prayed  hym  be  fauorable  hys  hono/zr  to  enhaunse, 
For  but  he  had  hys  favo/cr  at  that  poynt  of  nede 
He  stoode  in  gret  doute  he  coude  nat  Ivghtly  spede. 

144 
In  lyke  wvse,  Vvce  embassatours  thre,  1002 

[For  hys  partv,  vnto  Frewyll  sent, 
Teniptacion,  Foly,  &  Sensualyte, 

Praying  hvm  of  fauoz^r  that  he  wold  assent  1005 

To  hyw,  as  he  wolde  at  hys  co;;;maundment 
Haue  hvm,  eftsones,  when  he  lyst  to  call 
Oil  hym  for  any  thyng/5f7t  aftyrward  myght  fall.  looS 

145 
Answere  yaue  he  noon  to  neyther  party,  1009 

Saue  oonly  he  seyde  the  batayle  wold  he  se. 
To  wete  whvche  of  hem  shuld  haue  the  victory. 

Hit  hyng  in  hys  balaunce  the  ambyguyte.  1012 

He  seyde  he  wold  nat  restrayne  hys  lyberte. 
When  he  come  where  sorow  shuld  awake. 
Then  hit  shuld  be  know  what  part  he  woll  take.    loi 5 
146 
Whan  Vrytcw  and  Vvce,  be  her  embassatours,  10 16 

Knew  of  thys  answere,  they  stood  in  gret  doute. 
Neu^Tthelese,  they  seyde  they  wold  endure  tho  shoures 
And  make  an  ende  shortly  of  that  they  went  aboute. 
So  forthe  came  Vvce  w/t//  all  hys  gret  route. 
Er  he  came  at  the  felde  he  sent  vet  pryuyly 
Sensual vte  before,  in  mauiiv-  of  a  spy,  1022 


The  Battle  of  the    Vices  and   Virtues. 


31 


147 


1023 


1026 


Whyche  sewe  the  felde  \\i\h  hys  vnkynde  seede 
That  causyd  Vertu  aftyr  mykyll  woo  to  feele. 
For  therof  grew  nought  but  all  oonly  weede, 
Whyche  made  the  grounde  as  slepyr  as  an  yele. 
He  went  ayene  to  Vyce  and  told  hym  eu<?ry  dele 
How  he  had  done,  and  bade  hvm  com  away      [day. 
For  he  had  so  purueyde  that  Vyce  shuld  haue  the 
14S 
Soo,  as  hit  happyd,  at  the  felde  they  mete,  1030 

Freewyll,  V(?;-tew  &  Vyce,  as  trypartyte, 
Safe  V^rtew  a  lytell  before  the  felde  had  gete, 

And  elles  hys  auauntage  forsothe  had  he  full  lyght 
Nat  for  then  encombryd  so  was  neu(?r  wyght 

As  Vivtew  and  hys  men  were  w/t/^  the  ranke  wede 
That  in  the  felde  grew  of  Sensualytees  sede.      1036 
149 
But  as  sone  as  Vyce  of  Vertu  had  a  syght. 

He  gan  swage  gonnes  as  he  had  be  woode. 
That  heryng,  V^rtew  cowmaundyd  eu<?/'y  wyght 
To  pauyse  hym  vndyr  the  sygne  of  the  roode. 
And  bad  hem  nat  drede  but  kepe  styll  wher  they  stoode. 
Hyt  wasbutashoure  shuld  soone  confound,  [ground. 
Wherfore  he  cowmaundyd  they;«  stand  &  kepe  her 

150 
And  when  Vyce  came  nerer  to  the  felde,  1044 

He  callyd  soore  for  bowes  and  bade  hem  shote  faste. 
But  V^rtew  and  hys  meyny  bare  of  w/t/i  the  shelde 
Of  the  blessyd  Trynyte  ay  tyll  shot  was  paste.        1047 
And  when  shot  was  doon,  Vyce  came  forthe  at  laste, 
Purposyng  the  felde  w/t//  assawte  to  wyn.     [theryn. 
But  Vi?;-tew  kept  hit  long  —  he  myght  nat  entyr 

151 
All  that  tyme  Frewyll  &  hyih  bethought  1051 

To  whyche  he  myght  leue  &  what  part  he  wold  take. 
At  last  Sensiialyte  had  hym  so  fer  brought 

That  he  seyde  pleynly  he  Vertu  wold  forsake,         1054 
And  in  Vyce  hys  quarell  all  hys  power  make. 

"Y-wis,"  quoth  Reason,  "that  ys  nat  for  the  beste." 
"  No  forse,"  seyde  Frewyll,  "I  wyll  do  as  my  lyste." 


1037 


1040 


who  sows  the 
field  with 
wicked  seed  of 
weeds. 


Virtue's  men 
are 

encumbered 
by  Sensu- 
ality's weeds. 


Virtue  com- 
mands every 
man  to  pause 
under  the  sign 
of  the  cross. 


They  ward  off 
the  shots  of 
Vice  by  the 
shield  of  the 
Holy  Trinity. 


Vice  proposes 
to  make 
assault. 


Freewill 
inclines  to  the 
side  of  Vice. 


32 


The  Battle  of  the    Vices  and   Virtues. 


Virtue  is 
compelled  to 
retreat. 


Baptism, 
Faith,  Hope 
and  others 
hold  their 
ground. 


Vertu  was  full  heuy,  when  he  sy  Frewyll  1058 

Take  part  with  Vvce,  but  yet  neu^rthelesse 
He  dyd  that  he  myght  the  felde  to  kepe  styll. 

Tyll  Vyce,  w/t//  Frewyll,  so  sore  gan  hym  oppresse 
That  he  was  constreynvd  clerely  by  duresse 
A  Ivtvll  tvne  abak  to  make  abew  retret. 
All  thyng  consvdervd  hit  was  the  best  feet.  1064 

153 
Furst  to  remembre  how  Vvces  part  was  1065 

Ten  ayene  oofi  strengor  by  lyklynes, 
And  than  how  Frewyll  was  w/t/i  hym  alias, 

Whoo  cowde  deme  V^rtew  but  in  heuvnes;  1068 

Moreou^r  to  thynke  how  that  slvper  gres, 
That  of  Sensualyte  hys  vnkvnde  seede  grew 
Vndyr  foote  in  standvng  encombrvd  Virrtew.      107 1 

154 
Yet  natw/t//standyng,  V^rtew  hvs  men  all  1072 

Nobully  theyM  bare  and  faught  myghtyly. 
Howe  be  hyt,  the  slepyr  grasse  made  many  of  hem  fall, 
And  from  thense  in  man^r  depart  sodeynly.  1075 

That  seyng,  Vyce  hys  oost  began  to  showt  and  cry 
And  seyde,  "On  in  Plutoname!  On  !  &  all  ys  owre! 
For  thys  day  shall  Vyce  be  made  a  conquerowrl" 

155 
Thus  Vertew  was  by  myght  of  Vvce  &  Frewyll  1079 

Dreuen  out  of  the  felde  —  hit  was  the  more  pyte. 
Howe  be  hit,  yet  Baptym  kept  hys  ground  styll, 

And  w/t//  hym  aboode  Feythe,  Hoope  and  Unyte,   1082 
And  Kunnyng  also,  w/t/i  comons  a  gret  meyne, 
Confessyon,  Contricion  were  redy  at  her  hande, 
And  Satysfaccion,  Vvce  to  wythstande.  1085 

'  156 
But  all  the  tyme  whyle  Vertew  was  away  1086 

A  myghty  conflycte  kept  they  w/tA  Vyce  his  rowte. 
And  yet  neu^rthelese  for  all  that  gret  affray 

Hoope  stood  vpryght&  Feythe  wold  neu^r  lowte  ;    1089 
And  eu^rrmore  seyd  Baptyni,  "Syres  put  no  dowte 
Vertu  shall  retorne  &  haue  hys  entente. 
Thvs  felde  shalbe  our  &:  elles  let  me  be  shent." 


The  Battle  of  the    Vices  and   Virtues.  33 

157 
And  whvle  these  pety-capteynes  susteynydthus  the  feelde,  Vin^^J^^j^^ 
W/t//  V^rtew  hys  rerewarde  came  Good  P^rseueraunce,   p^;^7^^^^^^'^'= 
An  hogy  myghty  hoost,  &  when  he  behelde  "fZtl^'^ 

How  V^rtew  hym  w/t//drew  he  toke  dysplesaunce,  1096 
And  when  he  to  hym  came  he  seyde,  "Ye  shall  ^oiir  chaunce 
Take  as  hit  falleth,  wherfore  returne  ye  must. 
Yet  oonvs  for  your  sake  w/t//  Vyce  shall  I  lust.  1099 
158 
"Alias  that  euer  ye  shuld  leese  thus  yoz/r  honour,  iioo 

And  thefw/U  also,  the  hygh  p^rpetuell  crowne, 
Whyche  ys  for  yow  kept  in  the  celestiall  tour. 

Wherfore  be  ye  callyd  Crist^.y  Champyoh?  1103 

How  ys  hit  that  ye  haue  no  compassyon 

On  Baptym,  Feythe,  &  Hoope,  Konnyng,  &  Vnyte, 
That  stant  so  harde  be  stadde  &  fyght  as  ye  may  see? 

159 
"All  the  tresouf  erthely  vndyr  the  fyrmament,  1 107 

That  eu^r  was  made  of  godd<?^  creacion 
To  rewarde  theym  euynly,  were  nat  equyualent 

For  her  noble  labo/zr  in  hys  afflyccion.  mo 

Wherfore  take  vppon  yow  your  iurysdyccion. 
Rescu  yondyr  knyght<?5-  &  recontynu  fyght. 
\  And  elles  adew  your  crowne  for  all  yo///-  gret  meryt." 
160 
W/t//  these  &  suche  wordys,  as  I  haue  yow  tolde,        11 14 

,    .         ,  Virtue  returns 

By  good  P^rseu^'raunce  vttryd  m  thys  wyse,  to  the  struggle 

Vertu  hyw  remembryd  &  gan  to  wex  bolde 

And  seyd,  "Yeue  trew  knyght<?.s-  to  rescu  I  auyse.  11 17 
Let  vs  no  lengor  tary  from  thys  entrepryse." 
Agayh  to  the  felde  so  V,?v-tew  retornyd, 
That  causyd  hem  be  mery^^t  long  afore  had  mornyd. 
161 
"  Avaunt  banef,"  quoth  he,  "  in  the  name  of  Ih.?5U."    1 1 2 1    in  the  name  of 

And  w/t/i  that  hys  pepyll  set  vp  a  gret  showte 
And  cryed  w/t/z  a  lowde  voyce,  "  A  V^rtew  !  A  V^/-tew!" 
Then  began  Vyce  hys  hooste  for  to  loke  abowte,   1124 
But  I  trowe  P^rseu^raunce  was  nat  long  w/t/^owte 
He  bathvd  hvs  swerde  in  hys  foes  blood. 
The  boldyst  of  hem  all  nat  oonys  hym  w/t/^stood. 


34 


The    Victory  of  Virtue. 


They  are 
victorious. 


Freewill  comes 
to  Conscience 
to  repent  and 
asks  counsel ; 


Conscience 
sends  him  to 
Humility, 


Humility  to 
Confession ; 


thence  to 
Contrition, 


Satisfaction, 
and  lastly  to 
Penance. 


Vice  is  carried 
from  the  field, 
meeting 
Despair  who 
fetches  his 
reward. 


Alpha  and 
Omega 
despatch  from 
the  heavens 
two  goodly 
ladies ;  one 
named 
Prescience  to 
chastise  Vice 
and  his  host; 


162 

Constaunce  hym  folowvd  &  brought  \\\m  h3's  spere.  11 28 

But  when  P^vseueraunce  saw  Vyce  oh  hvs  stede, 
No  man  cowde  hym  let  tyll  lie  came  there. 

For  to  byd  hym  ryde,  I  trow  hit  was  no  nede.         1131 
All  Vf^rtew  hys  ost  prayde  for  hys  good  spede. 
Agayh  Vyce  he  roode  w/t/i  hys  gret  shaft 
And  hym  ou^rthrew  for  all  hys  sotyll  craft.  1134 

163 
That  seyng,  Frewyll  came  to  Conscience,  11 35 

And  gan  hym  to  repent  that  he  whh  hyw  had  bee, 
Praying  hym  of  counsell  for  hys  gret  offence 

That  he  agayh  V^^vtew  had  made  hys  armee,  11 38 

What  was  best  to  do.     "To  Humylyte,"  [sent 

Quoth  Conscience,"  must  ^fu  go."  So  he  hymthedyr 

Disguysyd  that  he  were  nat  knowen  as  he  went.  1 141 

164 

And  when  he  thedyr  came,  Humylyte  hym  took         1142 

A  token,  &  bad  hym  go  to  Confessyon. 
And  shew  hym  hys  mater  w/t/^  a  peteous  look. 

Whyche  dooh  he  hym  sent  to  Contrycion,  1145 

And  fro  thensforth  to  Satysfaccion. 

Thus  fro  poost  to  y^yXour  was  he  made  to  daunce, 
And  at  the  last  he  went  forthe  to  Penaunce.        1148 

165 
But  now  for  to  tell  yow  —  when  Vyce  was  ou^rthrow    1149 

A  gret  parte  of  his  oost  about  hym  gan  resorte. 
But  he  was  so  febyll  that  he  cowde  no  man  know. 

And  when  they  sy  pal  they  knew  no  comforte,       1152 
But  caryed  hym  awey  be  a  pryuy  porte. 

And  as  they  hym  caryed  Dyspeyre  \\i\.h  \\\in  met ; 
W/t//  Vyce  hys  reward  he  came  they///  for  to  fet.  1 1  55 
166 
Then  came  the?  downe  goodly  ladyes  tweyne,  1156 

From  the  hygh  heuyn  aboue  the  firmament, 
And  seyde  the  gret  Alpha  &  Oo,  most  souereyne, 

For  that  nobyll  tryu///phe,  had  hem  thedyr  sent ;      1 1  59 
Ooii  of  hem  to  dryue  Vyce  to  gret  torment 

W/'t/^  a  fyry  scourge  that  she  bare  in  her  hande. 
And  so  he  dede  dyspeyre  and  all  his  hoole  bande. 


Rewards  and  Piuiishmcnts. 


35 


167 

The  name  of  thys  lady  was  callyd  Prescience.  1163 

She  neu^;-  left  Vyce,  ne  noofi  that  wold  hym  folow, 
Tyll  they  wer  co»?myttyd  by  the  diuine  sentence 

All  to  peyne  pi?rpetuell  and  infynyte  sorow.  1166 

Ryghtwysnes  went  to  see  that  no  man  shuld  hem  borow. 
Thus  all  entretyd  sharpely  were  they,  tyll  Cerberus 
Had  hem  beshut  w/t//yn  hys  gates  tenebrus.        11 69 
16S 
And  all  the  whyle  that  Prescience  w/t//  her  scorge  smert 

To  rewarde  Vj^ce  gan  hyr  thus  occup)', 
W/t/i  all  hys  hoole  bende,  aftyr  her  desert, 

That  other  gloryous  lady  that  came  fro  heuy n  on  hy ,  1 1 7  3 
Hauyng  in  her  hande  the  palme  of  vyctory, 

Came  downe  to  V^rtu  and  toke  hyw  to  that  present, 
Seying  thus  that  Alpha  &  Oo  haue  hym  sent.     11 76 
169 
And  as  ferre  as  I  aryght  cowde  vndyrstand  ii77 

That  ladyes  name  was  Predestinacion. 
V<?rtu  &  hys  boost  she  blessyd  w/t//  her  hand 

And  in  heuen  grauntyd  hem  habitacion,  11 80 

Where  to  eche  of  hem  resrruyd  was  a  crown, 
She  seyde,  in  token  that  they  enherytours 
Of  the  glory  were  and  gracious  conquerours.     11 83 
170 
Whyche  dooh,  thoo  ladyes  ayene  togedyr  met  11 84 

And  toward  heuyn  vp  they  gan  to  [fly], 
Embrasyd  in  armes  as  they  had  be  knet 

Togedyr  w/t/z  a  gyrdyll ;  but  so  sodenly  1187 

As  they  were  vanysshyd  saw  I  neu^/-  thyng  w/tA  ey. 
And  anon  V^rtew  wkh  all  hys  company 
Knelyd  dowii  and  thankyd  God  of  that  vyctory.  1 190 
171 
Yet  had  I  forvete  when  Vyce  was  ou<?'rthrow  1191 

To  haue  tolde  yow  how  many  of  Vyce  hys  oost 
Gan  to  seek  Peese,  and  darkyd  downe  full  low, 

And  besought  Mercy,  what  so  ^wer  hys  cost,  1194 

To  be  her  mene  to  Vd'rtew,  elles  they  were  but  lost. 
And  som  in  lyke  wyse  to  Feythe  &  Hoope  sought 
What  to  do,  for  peese  they  seyde  they  ne  rought.  1 197 


she  pursues 
them  through 
the  gate  of 
Hell. 


The  other  lady 
bears  to  Virtue 
the  palm  of 
victory. 


Her  name  is 
Predestina- 
tion; she 
grants  them  a 
heavenly 
habitation. 


Which  done, 
the  ladies 
depart 
suddenly. 


Virtue  and  his 
host  thank 
God  for  the 
victory. 


Some  of  Vice's 
host  seek 
Peace, 
beseeching 
mercy  to  plead 
to  Virtue,  or 
Faith,  or 
Hope, 


36 


Repentance  of  the    Vices. 


or  Baptism. 


All  must  go  to 
Confession. 


172 

Som  also  to  Baptyifi  sewyd  to  be  her  mene;  11 98 

Som  to  oon,  som  to  other,  as  they  hem  gete  mvght. 
But  all  to  Confession  went  to  make  hem  dene.       [Ivght, 
And  as  they  came  by  Conscience   he  theym  bad  goo 
Er  than  olde  Attropos  of  hem  had  a  svght. 

For  yef  he  so  theyw  tooke  lost  thev  were  for  eu^r. 
He  seyde  Vyce   to  forsake  ys  bettyr  late  then  n^wer. 


Some  seek 
Circumcision 
who  bids  them 
go  to  Faith ; 
he  to  Baptism 
and  Virtue  by 
process. 


Virtue 
commands 
Freewill  to 
come  near 


and  charges 
him  for  taking 
Vice's  part. 


Freewill  lays 
the  blame 


upon 
Sensuality. 


Som  eke  for  socour  drew  to  Circu/z/cysion,  1205 

But  by  hym  cowde  they  gete  but  small  fauo//r, 
For  he  in  that  company  was  had  but  in  derysion. 

NeutV'thelese  to  Feythe  he  bade  hem  go  labo///"',     1208 
Praying  theyw  for  olde  acqueyntance  theyw  soco«r. 
"  Well,"  quoth  Feythe,  "  for  hys  sake,  I  shall  do  that  I 
But  furst  for  the  best  wey  Baptyin  go  3'e  to.  [may  do 

174 
"  For  by  \\\i)i  sonnest  shull  ye  recoucr  grace,  121 2 

Whyche  shall  to  V^rtu  bryng  yow  by  processe  ; 
Wherfore  in  any  wyse  looke  ye  make  good  face, 

And  let  no  man  know  of  your  heuynes."  1215 

So  they  were  by  Baptym  brought  out  of  dvstres  — 
Turnyd  all  to  V^rtew ;   &  when  thys  was  dooh, 
V^'/'tu  co?«maundyd  Frewyll  before  hym  com.     12 18 

175 
To  whom  thus  he  seyde,  "  I  haue  gret  mr/-uayll  12 19 

Ye  durst  be  so  bolde  Vyces  part  to  take. 
Who  bade  vow  do  so  &  yaue  yow  that  counsayll  ? 

lustly  vnto  that  ye  shall  me  pryuy  make."  1222 

Then  seyde  Frewyll  &  swemfully  spake, 
Knelyng  on  hys  kne  w/t//  a  chere  benvgne, 
"I  pray  yow,  syf,  let  pyte  yo///-  cares  to  me  enclyne 
176 
"And  I  shall  yow  tcU  the  v<'7-rey  sothe  of  all,  1226 

Howe  hit  was,  &  who  made  me  that  wey  drawe. 
For  sothe,  Sensualite,  hys  pr(?pre  name  thev  call." 
"A,"  seyde  Reason,  "then  I  know  well  that  felawe. 
Wylde  he  ys  &  wanton,  of  me  stant  hym  noon  awe." 
"  Ys  he  soo  ?"  q//^d  V^rtu,  "  well  he  shalbe  taught  ■  / 
As  a  pleyer  shuld  to  drawe  another  draught?*    12^2 


Virtue^ s  Judgments.  37 

177 
And  w/t/i  that  came  Sadnesse  w/t/i  hys  sobre  chere,   1233   Sadness  brings 

Sensuality 

Bryngyng  Sensualyte,  beyng  full  of  thought,  prisoner  to 

And  seyde  that  he  had  take  hym  prysonere.         [sought. 
"A  welcome  !"  seyde  V^rtew,  "now  haue  I  that  I 
Blessyd  be  that  good  lord  as  thow  wolde  ys  hit  nought." 

"  Why  art  thow  so  wantoun  &  wylde,"  he  seyde,  "  for  shame  ! 
Er  thow  go  at  large  thow  shalt  be  made  more  tame. 
178 
"  But  stande  apart  awhyle  tyll  I  haue  spoke  a  woorde  1 240 

W/t/i  Frewyll  a  lytell,  &  then  shalt  thow  know 
What  shalbe  thy  finaunce ;"  &  then  he  seyde  in  boorde 

Vnto  Frewyll,  "The  bende  of  your  bowe  1243   requkw 

Begynneth  to  slake,  but  suche  as  ye  haue  sowe 
Must  ye  nedes  reepe  —  the?  ys  noofi  other  way. 
Natw/t/zstandyng  that  let  see  what  ye  can  say.       i  246 
179 
"What  ys  yo//r  habylyte  me  to  recompense  1247 

For  the  gret  harme  that  ye  to  me  haue  do?"  recompense 

^  -^  from   FreewilK 

"  Forsothe,"  seyd  Frewyll  in  opyn  audyense, 

"But  oonly  Macrocosme  more  haue  I  nat  lo.  1250   Freewill 

QPTCCS  to 

Take  that,  yef  hit  plese  yow,  I  wvll  that  hit  be  so.  deliver 

-.r    r   T  1  1  1        "  ,    ,        1      ,,  Microcosm 

Yer  i  may  vndvrstand,  ye  be  my  good  lorde. 
"In  dede,"  seyde  V^Ttu,  "to  that  wyll  I  acorde."  1253 
180 
Then  made  Vertu  Reson  hys  lyeftenaunt,  i2e;4   which  is  given 

•'  ~'        again  to  the 

And  yaue  hym  a  gret  charge  Macrocosme  to  kepe.  charge  of 

■^  ->  ^  ^  r  Reason  and 

That  doofi,  Sensualyte  yelde  hym  recreaunt,  Freewill. 

And  began  for  to  angre  byttyrly  to  wepe.  1257 

For  he  demyd  sewerly  hys  sorow  shuld  nat  slepe. 
Then  made  Vertu  Frewyll  bayll[e]  vndyr  Reson, 
The  felde  for  to  occupy  to  hys  behoue  that  seson.  1260 
181 
And  then  seyde  Vertu  to  Sensualyte,  1261    virtue  orders 

"Thow  shalt  be  rewardyd  for  thy  besynesse.  forsake  his 

TT      1  1  r  11    !•     "       1  fragility  and 

Vndyr  thys  fourme  all  fragylyte  be  guided  by 


Shalt  thow  forsake,  bothe  more  &  lesse,  1264 

And  vnder  the  guydyng  shalt  thow  be  of  Sadnesse. 
All  though  hit  somewhat  be  ageyn  thy  hert, 
Thyiugement  ys  yeuyn — thow  shalt  hit  nat  astert." 


Sadness. 


38 


Virtue'' s  Judgments. 


With  that 
Nature  enters, 
protesting  that 
Sensuality, 
her  servant, 
should  be 
given  liberty. 


Virtue  grants 
Sensuality 
freedom  within 
Microcosm 
under  the 
restraint  of 
Sadness. 


This  done. 
Virtue  sees 
Morpheus 
Standing  by, 


and  thanks 
him  for  his 
troth  and  labor. 


He  is  given 
care  of  the  five 
gates. 


1S2 

And  euen  v^kh  that  came  in  Dame  Nature,  1268 

Saying  thus  to  V^rtew,  "  Syr  ye  do  me  wrong 
By  duresse  &  constreynt  to  put  thys  creature, 

Gentyll  Sensualyte,  that  hath  me  s^ruyd  long,        1271 
Cleerly  from  hys  liberte,  &  set  hyw  among 

They;«  that  loue  hym  nat,  to  be  her  vnderlowte, 
As  hit  were  a  castaway  or  a  shoo  clowte.  1274 

"And,  parde,  ye  know  well  a  rewle  haue  I  must  1275 

Withyn  Macrocosme;  forsoth,  I  sey  nat  nay." 
Quoth  V<?rtu,  "  But  Sensualyte  shall  nat  p(?rformeyo//r  lust 
Lyke  as  he  hath  do  before  thys,  yef  I  may.  1278 

Therfro  hym  restrayn  Sadnesse  shall  assay. 
Howe  be  hit,  ye  shall  haue  your  hoole  lyberte 
W/t//yn  Macrocosme,  as  ye  haue  had,  fre."  1281 

184 
And  when  V^rtu  had  to  Nature  seyd  thus,  1282 

A  lytyll  tyne  hys  ey  castyng  hym  besyde. 
He  sy  in  a  corner  standyng,  Morpheus, 

That  hy;«  before  warnyd  of  the  verryly  tyde.  1285 

"A  syres,"  seyd  Vertu,  "yet  we  must  abyde. 
Here  ys  a  frende  of  owre  may  nat  be  foryete. 
Aftyr  hys  desert  we  shall  hym  entrete."  1288 

185    ' 
"Morpheus,"  seyd  Vertu,  "I  thanke  yow  hertyly       1289 

For  your  trew  hert  &  your  gret  labour. 
That  ye  lyst  to  come  to  me  soo  redyly. 

When  ye  undyrstood  the  co;«myng  of  that  shour.  1292 
I  thanke  God  &  yow  of  sauyng  of  myh  hono?//-. 
Wherfore  thys  pryuylege  now  to  you  I  graunt. 
That  w/t/^yn  Macrocosme  ye  shall  haue  your  haunt. 
186 
"And  of  fyue  posternes  the  keyes  shall  ye  kepe,         1296 

Lettyng  in  and  out  at  hem  whom  ye  lyst. 
As  long  as  in  Macrocosme  yoz/r  fadyr  woll  crepe. 

Blere  whos  ey  ye  woll  hardyly  w/t^  yo«r  myst,        1299 
And  kepe  your  werkes  close  there  as  in  a  chyst. 

Safe  I  wold  desyre  vow  spare  Pollucion,  [cioii." 

For  nothyng  may  me  plese  that  sowneth  to  corrup- 


Complaint  of  Atropos. 


39 


187 
And  when  he  had  thus  seyde,  pt  keyes  he  hym  tooke,  1303 

And  toward  hys  castell  wkh  hys  pepyll  went, 
Byddyng  Reason  take  good  heede  &  about  looke, 

That  Sensualyte  by  Nature  were  nat  shent.  1306 

"  Kepe  hym  short,"  he  seyde,  "tyll  hys  lust  be  spent. 
•■  For  bettvr  were  a  chylde  to  be  vnbore, 
V    Then  let  hyt  haue  the  wvll  &  for  euer  be  lore."  1309 
188 
And  when  olde  Attropos  had  seen  &  herde  all  thys,  1310 

How  V^rtew  had  opteynyd,  astonyed  as  he  stood. 
He  seyd  to  hymsylf,  "  Somwhat  the?  ys  amys, 

I  trow  well  my  patent  be  nat  all  good,"  '^Z'^Z 

And  ran  to  the  palyse  as  he  had  be  wood, 
Seying  to  the  goddif'^-,  "  I  see  ye  do  but  iape, 
Aftyr  a  worthy  whew  haue  ye  made  me  gape.        131 6 
189 
"Howe  a  deuyll  way  shuld  I  Vertu  ou^rthrow,  131 7 

When  he  dredyth  nat  all  your  hoole  rowte ! 
How  can  ye  make  good  your  patent,  wold  I  know. 

Hyt  ys  to  impossybyll  to  bryng  that  abowte  ;  1320 

For  stryke  hym  may  I  nat  — that  ys  out  of  dowte." 
"A,  good  Attropos,"  seyd  god  Apollo, 
"An  answer conuenyent  shalt  thow  haueherto. 
190 
"The  wordys  of  thy  patent,  dar  I  well  say, 

Streche  to  no  ferther  but  where  dame  Nature 
Hath  iurisdiccion  ;   there  to  haue  thy  way. 
And  largesse  to  stryke  as  longeth  to  thy  cure. 
And  as  for  Vertu  he  ys  no  creature 

Vnder  the  p;rdicament  conteynyd  of  quantyte. 
Wherfore  hys  destruccion  longeth  nat  to  the." 
191 
"A  haa  !"   seyd  Attropos,  "  then  I  se  well 

That  all  ye  goddifi'  be  but  counterfete. 
For  00  God  the?  ys  tha^can  ^wery  dell 

Turne  as  hym  lyst,  bothe  dry  &  whete, 
/   In  to  whos  s^ruyce  I  shall  assay  to  gete.-—?^ 
And  yef  I  may  ones  to  hys  s^ruyce  come 
Your  names  shalbe  put  to  oblyuyone."  1337 


Virtue  and  his 
people  leave 
for  the  castle. 


Atropos  again 
complains  to 
the  gods. 


1323 


1324 


1327 


1330 


I33I 


1334 


Apollo 
answers: 


His  patent  is 
legal  only 
within  the 
jurisdiction 
of  Nature. 
The  destruc- 
tion of  Virtue 
is  therefore  no 
for  him. 


Atropos 
departs  in 
wrath. 


^  OF   TH 


F?^ 


T1  ■KTT'^T'Tr'.'RGiTTV" 


40 


Repulse  of  Residivacion. 


Meanwhile 
Residivacion, 
disguised  like 
a  pilgrim, 
makes  his  way 
to  Micro- 
cosm. 


He  becomes 
acquainted 
with  Sensu- 
ality but  is 
ordered  by 
Reason  to 
depart. 


No  help  is 
found  in 
Nature. 


Residivacion 
leaves  full  of 
sorrow. 


Then  Reason 
and  Sadness 
clear  the 
ground  of  the 
seeds  of 
Sensuality. 


New  grass 
springs  up  in  a 
marvelous 
manner. 


192 

Thus  went  Attropos  fro  the  paleyce  wrooth.  1338 

But  in  the  mene  tyme,  whyle  that  he  there  was, 
Glydyng  by  the  palyce,  Resydyuacion  gooth 

Toward  Macrocosme,  w/t// a  peyntyd  fasc,  1341 

Clad  lyke  a  pylgrym,  walkvng  a  gret  pase, 
In  the  forme  as  he  had  bene  a  man  of  Ynde. 
He  wende  haue  made  Reson  &:  Sadnesse  bo/e  blynde. 

193 
W/t//  Sensualyte  was  he  soone  aquevnlvd,  I345 

To  whom  he  declaryd  hys  matyr  pryuvh'. 
Yet  he  was  espyed  for  all  hys  face  pevntvd. 

Then  Reson  hym  cowmaundyd  pyke  Xwjii  thens  Ivghtlv. 

"For  hys  ease,"  quoth  Sadnes,"socounsevIl  hvwwvll  I." 

So  was  Sensualyte  ay  kept  vndyr  foote, 

That  to  Resydyuacion  mvght  he  doo  no  boote.  1351 

194 

Then  went  he  to  Nature  &  askvd  hvr  au_vse,  1352 

Hys  entent  to  optevgne  what  was  best  to  do. 
She  seyde:  "  Y,\\er  syth  Vrrtew  of  Vyce  wan  the  prvse, 
Reson  whh  Sadnes  hath  rewlyd  the  fylde  so,  ^355 

That  I  and  Sensualyte  ma}'  lytyll  for  the  do. 
For  I  may  no  more  but  oonlv  kepe  my  cours. 
And  yet  ys  Sensualyte  strengor  kept  &  wours."  1358 

195 
Thus  heryng,  Residiuacion  fro  thens  he  went  agevfi,  1359 

Full  of  thought  &  sorow  pa'i  he  myght  nat  spede. 
Then  Reson  &  Sadnesse  toke  wede  hok^'j-  twevii, 

And  all  wylde  wantones  out  of  the  fyldegan  wede,  1362 
W/t/i  all  the  slyper  grasse  that  grew  of  the  sede 
That  Sensualyte  before  thefyn  sew ; 
And  for  thens  forthe  kept  hit  clene  for  Vertew.    1365 
196 
Then  began  new  gresse  in  the  fylde  to  sprvng,  1366- 

All  vnlyke  that  other,  of  colour  fayre  &  bryght. 
But  then  I  aspyed  a  m^ruelous  thyng. 

For  the  grounde  of  the  felde  gan  wcx  hoore  «S:  whyte. 
I  cowde  nat  conceyue  how  that  be  mvght, 
Tyll  I  was  enformyd  &  tau^-ht  hit  to  know, 
But  where  V(?rtew  occupvcth  must  nedys  well  grow. 


Atropos  named  Death. 


41 


197 
Yet  in  the  mene  tyme,  whyle  the  fylde  thus  grew,      1373 

And  Reson  w/t/^  Sadnesse  therof  had  gou<"/-naunce, 
Many  a  pryuy  messyng^r  thedyr  sent  V^'rtew, 

To  know  yef  hit  were  guydyd  to  hys  plesaunce ;    1376 
Now  Praver,  efte  Fastyng,  &  oftyn  tyme  Penaunce, 
And  when  he  nivght  goo  pryuyly,  Ahiiesdede, 
And  bade  hym  to  hys  power  helpe  wher  he  sy  nede. 
198 
Whyle  that  fylde  thus  rewlyd  Resoii  w/t//  Sadnes,      13S0 

Mawgre  Dame  Nature  for  all  her  carnall  myght, 
Came  thedyr  Attropos,  voyde  of  all  gladnes, 

Wrappyd  in  hys  shete,  &  axyd  yef  any  wyght  1383 

Cowde  wysshe  hym  the  wey  to  the  Lorde  of  Lyght, 
Or  ellys  where  men  m_yght  fynd  Rj^ghtwysnesse. 
"  Forsothe,"  seyde  Reason,  "  I  trow,  as  I  gesse,  1386 
199 
"At  V<r/-tu  hys  castell  ye  may  soone  hym  fynde,         1387 

Yef  ye  lyst  ^e  labo///-  thedyr  to  take, 
And  there  shall  ye  know,  yef  ye  be  nat  blynde, 

The  next  wey  to  the  Lorde  of  Lyght,  I  vndyrtake."  1 390 
So  thedyr  went  Attropos,  peticion  to  make 
To  Ryghtwysnes,  praying  that  he  myght 
Be  take  in  to  the  s^ruyce  of  the  Lord  of  Lyght.  1393 


Virtue  sends 
secret 

messengers  to 
Microcosm. 


Atropos  draws 
near  and  asks 
Reason  the 
way  to  the 
Lord  of  Light. 


He  is  directed 
to  Virtue's 
castle. 


Atropos  seeks 
from 

Righteousness 
to  serve  the 
Lord  of  Light. 


"What,"  seyde  Ryghtwysnes,  "thow  olde  dotyng  fo_ole, 

Whome  hast  thow  s<?'ruyd  syth  the  world  began 
But  oonly  hvm?     Where  hast  thow  go  to  scoole? 

Whether  art  thow  double,  or  elles  the  same  man    1397 
That  thow  were  furst?"     "A  syr,"  seyde  he  than, 
"  I  pray  yow  hertyly  holde  me  excusyd. 
I  am  olde  &  febyll ;  my  witt^j  a?  dysvsyd."         1400 


He  is  assured 
by  Righteous- 
ness that  the 
Lord  is  his 
master. 


"Well,"  seyde  Ryghtwysnes,  "for  as  mocheas  thow     1401 

Knowest  nat  thy  mastyr,  thy  name  shall  I  chaunge. 
Dethe  shalt  thow  be  callyd,  from  hens  forward  now, 
^  Among  all  the  pepyll  thow  shalt  be  had  straunge.  1404 
But  when  thow  begynnest  to  make  thy  chalaunge, 
Dredde  shalt  thow  be,  wher  so  thow  become, 
And  to  no  creature  shalt  thow  be  welcome.         1407 


His  name  is 
changed  to 
DEATH,  and 
to  no  creature 
shall  he  be 
welcome. 


42 


Tlic  Rule  of  ]'irtue. 


Those  whom 
he  formerly 
served  shall  be 
put  tooblivion. 


Death  is  given 
a  place  in 
Microcosm. 


Virtue  then 
despatches 
Priesthood  to 
the  field  with 
the  sacraments. 


Previously  had 
come  thither 
Confession, 
etc. 


The  field  is 
cleansed 
within  and 
without,  and 
the  Lord  of 
Light  is 
received  with 
fitness. 


"And  as  for  theym  whom  thow  dedyst  serue,  1408 

For  as  moche  as  they  pr^'sume  on  hem  to  take 
That  hygh  name  of  God,  they  shall  as  they  deserue 
Therfore  be  rewardyd,  I  dar  vndyrtake,  141 1 

W/'t/i  peyn  prrpetuell,  among  fend^j-  blake, 
And  her  names  shall  be  put  to  oblvuyon 
Among  men,  but  hit  be  in  dervsvon."  1414 

203 
"A  ha  !"  seyde  Attropos,  "now  begyn  I  wex  gladde  1415 

That  I  shall  thus  avengyd  of  hem  be, 
Syth  they  so  long  tyme  haue  made  me  so  madde." 
"Yee,"  quoth  Ryghtwysnes,  "  here  what  I  sev  to  the: 
The  Lord  of  Lyght  sent  the  worde  by  me 
That  in  Macrocosme  sesyne  shalt  thow  take  ; 
Whcrfore  thy  darte  redy  loke  thow  make."  1421 

204 
And  as  sone  as  Vertu  that  vndvrstood,  1422 

He  seyde  he  was  plesyd  that  hit  shuld  so  be. 
And  euyn  forthew/t//  he  C(?wmaundyd  Presthood 

To  make  hyiTi  redy  the  felde  for  to  se.  1425 

Soo  thedyr  went  Presthood  whh  benygnyte, 
Conueying  thedyr  the  blessyd  sacrament 
Of  Eukaryst.      But  furst  were  theder  sent  1428 

205 
Confession,  Contricion,  and  Satisfaccion,  1429 

Sorow  for  Synne,  &  gret  Repentaunce, 
Holy  Deuocion,  w/t/i  Good  Dysposicion  — 

All  these  thedyr  came  &  also  Penaunce,  1432 

As  her  dewte  was  to  make  puruyaunce 

Ageyfi  the  cowmyng  of  that  blessyd  Lorde. 
Feythe,  Hoope,  &  Charyte  therto  were  acorde.    1435 
206 
Reason  \\i\.h  Sadnes  dyd  hys  dylygence  1436 

To  dense  the  fylde  w/t/^yn  &  w/t//out. 
And  when  they  sy  the  bodyly  presence 

Of  that  hooly  Eukaryst,  lowly  gan  they  lowte.        1439 
So  was  that  Lord  receuyd,  out  of  dowte, 

W/t//  all  humble  chere,  debonayr  &  benvgne, 
Lykly  to  hys  plesure  —  hit  was  a  gret  svgne.        1442 


The  Rule  of  Death. 


43 


207 
Then  came  to  the  fylde  the  mynystre  fynall,  1443 

Called  Holy  Vnccion,  w/t/^  a  crysmatory. 
The  V  hygh  weyes  in  especiall 

Therof  he  anoyntyd  &  made  hit  sanctuary.  1446 

Whom  folowyd  Dethe,  whych  wold  nat  tary 
Hys  feruent  power  there  to  put  in  vre, 
As  he  was  co;/'miaundyd,  grauntyng  Dame  Nature. 
208 
He  toke  hys  darte,  callyd  hys  mortall  launce,  1450 

And  bent  hys  stroke  toward  the  feldys  herte. 
That  seyng,  Presthoode  bade  Good  Remembraunce 
Toward  the  felde  turne  hy»z  &  aduerte.  ^453 

For  except  hy;«  all  virtues  thense  must  sterte. 
And  euvn  w/t//  that,  Dethe  there  sesyne  took ; 
And  then  all  the  company  clerely  hit  forsook.    1456 
209 
And  as  sone  as  Dethe  thus  had  sesyn  take,  i457 

The  coXour  of  the  felde  was  chaungyd  sodenly, 
The  grasse  theryn,  seere  as  though  hit  had  be  bake. 
And  the  fyue  hygh  weyes  were  muryd  opon  hy,     1460 
That  fro  thensforward  noofi  entre  shuld  therby. 
The  posternes  also  were  w/t//out  lette, 
Bothe  inward  &  outward,  fyn  fast  shette.  1463 

210 
Whyche  dooii,  sodenly  Dethe  vanysshvd  away,  1464 

And  Vertu  exaltyd  was  aboue  the  firmament. 
Where  he  toke  the  crowne  of  glory  that  ys  ay 

Preparate  by  Alpha  &  Oo  omnipoten[t].  1467 

The  swete  Frute  of  Macrocosme  ^edyr  w/t//  hy;«  went. 
And  on  all  thys  mater  as  I  stood  musyng  thus, 
Agayn  fro  the  felde  to  me  came  Morpheus,         1470 
211 
Seying  thus,  "What  chere !  howe  lyketh  the  thys  syght  ?  y 
Hast  thow  sene  ynowgh,  or  wyll  thow  se  more  ?  "  1 

"Nay  syr,"  I  seyde,"  my  trouthe  I  ^ow  plyght, 

Thys  ys  suffysyent,  yef  I  knew  wherfore  I474 

Thys  was  to  me  shewyd,  for  therof  the  lore 
Coueyte  I  to  haue,  yef  I  gete  myght." 
"  Folow  me,"  quod  he,  "  and  haue  thy  delyght."  1477 


Holy  Unction 
anoints  the  five 
highways. 


Then  enters 
Death  his 
power  to  try. 


None  can 
resist. 


The  grass 
becomes  sere 
and  the  gates 
shut. 


Suddenly 
Death  vanishes 
and  Virtue  is 
exahed  above 
the  firmament. 


To  me  musing 
again  comes 
Morpheus. 


I  ask 

Morpheus  the 
meaning  of  the 
sight. 


sj 


44 


The  School  of  Doctrine. 


I  am  brought 
to  an  arbor 
with  four  walls 


and  admitted 
by  Wit. 


It  is  the  school 
of  Doctrine. 


Doctrine  is 
crowned  with 
three  crowns — 
I  cannot  tell 
you  all. 


On  one  side 
sit  Holy  Text 
Glose  and 
Moralization. 


Scripture 
serves  as 
scribe. 


1  look  upon 
the  walls 


So  I  hyin  folowyd,  tyll  he  had  me  brought  1478 

To  a  fouresquare  herber  wallvd  round  about. 
'•Loo, "quoth  Morpheus,  "here  niavst  tho\v^(Zt  pow  sought 
Fynde,  yef  thow  wyll,  I  put  the  out  of  dout."  14S1 

A  lytyll  whyle  we  stood  styll  there  w/tZ/out, 
Tyll  Wytte,  chyef  j)orter  of  that  herber  gate, 
Requvrvd  bv  stodv.  let  vs  in  ther  ate.  1484 

213 
But  when  I  came  in  I  nuvuelvd  gretly  1485 

Of  that  I  behelde  &  herde  there  reporte. 
For  furst,  in  a  chayar.  apparavlvd  rovallv. 

There  sate  Dame  Doctryne,  her  chvldren  to  exorte. 
And  about  her  was  many  a  sondry  sorte ; 
Som  wyllyng  to  lerne  dyu^rse  scvence, 
And  som  for  to  have  pcrfyte  intellvgence.  1491 

214 
Crownyd  she  was  lyke  an  Emp<r,'-esse,  1492 

W/t//  iii  crownes  standyng  on  her  hede  on  hv. 
All  thyng  about  hyr  an  infynyte  processe 

Were  to  declare,  I  tell  vow  certevnlv.  i495 

Neurrthelese  som  in  mynde  therof  haue  I, 

Whyche  I  shall  to  yow,  as  God  wyll  yeue  me  grace, 
As  I  sawe  &  herde,  tell  in  short  space.  1498 

215 
Fast  by  Doctryne  on  that  ooii  syde,  I499 

As  I  remembre,  sate  Holy  Texte, 
That  openvd  hvs  mouthe  to  the  pepvll  wyde, 

But  nat  in  compc/Aysoii  to  Glose  that  sate  next.      1502 
Moralyzacion  \\i\.h  a  cloke  context 

Sate ;   &  Scrypture  was  scrvbe  to  thevw  all. 
He  sate  av  wrvtyng  of  that  that  shuld  fall.  1505 

216 
These  were  tho  that  I  there  knew —  1506 

By  no  man*"/-  wey  of  olde  aqueyntaunce, 
But  as  I  before  saw  theym  w/t//  V^;-tew 

Company  in  fclde  cv:  hauvng  dalvaunce.  1509 

And  as  I  thus  stood  half  in  a  traunce, 

Whyle  thev  were  occupyed  in  her  besynesse, 
Abowtc  the  walles  myn  ey  gan  I  dresse.  15 12 


The  School  of  Doctrine. 


45 


217 
Where  I  behelde  the  meruelous  story 
That  eud-r  I  yet  saw  in  any  pycture, 
For  on  tho  walles  was  made  memory 
Singlerlv  of  eiuv-y  creature 
That  there  had  byn,  bothe  forme  and  stature; 
Whos  names  reherse  I  wyll,  as  I  can 
Brvng  they;;/  to  nivnde  in  ordre —  eucry  man 
218 
Furst,  to  begvh,  there  was  in  portrature 

Adam  ;  &  Eue  holdyng  an  appyll  round ; 
Noe  in  a  shyp ;  &  Abraham  hauyng  sure 

A  flynt  stone  in  hys  hand  ;  &  Isaac  lay  bound 
On  an  hygh  mount ;  Jacob  slepyng  sound, 
And  a  long  laddyf  stood  hym  besyde  ; 
Joseph  in  a  cysterne  was  also  there  that  tyde. 
219 
Next  whom  stood  Moyses,  w/t//  hys  tables  two ; 

Aaron  &  Vrre,  hys  armes  supportyng ; 
Ely  in  a  brennyng  chare  was  there  also. 

And  Elyze  stood,  clad  in  an  hermyt^i-  clothyng ; 
Dauid  with  an  harpe  &  a  stooh  slyng. 
Isaye,  leremy,  and  Ezechiell ; 
And  closyd  w/t/;  lyons,  holy  Danyell ; 
220 
Abacuc,  Mychee,  w/t//  Malachv ; 

And  lonas  out  of  a  whales  body  co;;/myng ; 
Samuell  in  a  temple ;  &  holy  Zakary 
Besyde  an  awter  all  blody  standyng  ; 
Osee  \\i\.h  ludyth  stoode  there  conspyryng 
The  dethe  of  Oloferne ;  and  Sal[a];;;on  also, 
A  chylde  w/t/;  hys  swerde  dyuydyng  in  two. 
221 
Many  moo  p/-^phetys  certeynly  there  were, 

Whos  names  now  come  nat  to  my  mynde. 
Melchisedech  also  aspyed  I  there, 

Bred  &  wyne  offryng  as  fyll  to  hys  kynde. 
loachym  and  Anne  stood  all  behynde, 
Embrasyd  in  armes  to  the  gyldyn  gate. 
And  holy  lohfi  Bantyst  in  a  desert  sate. 


I  C  I  2     where  is 

portrayed  a 
marvelous 


I5IO 


I519 


I  ^20     First  on  one 
•^  wall  in 

portraiture  is 
the  storj'  of 
Adam  and 
Eve,  Noah, 
J  r  2  •?     e*c.     (Old 
^    "^     Testament) . 


1526 
1527 

1530 

1533 
1534 

1537 

1540 
I54I 

1544 

1547 


46 


The  School  of  Doctrine. 


Upon  the 
opposite  wall 
I  see  Peter, 
Paul,  etc. 
(New  Testa 
ment  and 
Church 
Fathers). 


And  now  co/^myth  to  my  remeuibraunce  1548 

I  am  avysyd  I  saw  Sodechy, 
And  Amos  also,  w/t//  sobre  countenaunce, 

Standyng  wkh  her  faces  toward  Sophony.  1551 

Neemy  &:  Esdras  bare  hem  company. 
The  holy  man  loob  as  an  impotent, 
Then  folowyd  in  pycture  wiXh  Thobv  pacyent.   1554 
223 
These,  w/t//  many  mo,  on  that  oon  svde  ^555 

Of  that  grene  herber  portrayed  were. 
"A,"  seyde  Morpheous,  "a  lytyll  tyme  abyde. 

Turne  thy  face  where  thy  bak  was  ere  1558 

And  beholde  well  what  thou  seest  there." 
Than  I  me  turnyd  as  he  me  bade, 
W/t//  hert  stedefast  &  countenaunce  sade  1561 

224 
Where  I  saw  Petyr,  with  hys  keyes,  stande ;  1562 

Poule  w/t/;  a  swerde ;  lames  also 
W/t/i  a  scalop ;  &  Thomas  holdyng  in  hys  hande 

A  spere ;  &  Phylyp  aprochyd  hym  too.  1565 

lames,  the  lesse,  next  hem  in  j)ycture  loo 
Stood,  wilh  Bartyhnew,  whyche  was  all  flayfi. 
Symon  &  Thadee  shewyd  how  they  were slayii.   1568 
225 
Mathy  and  Barnabe,  drawyng  lottys,  stood.  1569 

Next  whom  was  Marke,  a  lyon  hym  by 
Hys  booke  holdyng;  cS:  Mathew,  in  hys  mood, 

Resemblyd  an  Aungell  wilh  \\\\\ges  gloryosly.        1572 
Luke  had  a  calfe  to  holde  hys  booke  on  hy. 
And  lohfi  wkh  a  cupp  tSc  palme  in  hys  hande; 
An  Egle  bare  hys  booke  —  thus  saw  I  hem  stande. 
226 
Gregory  and  lerome,  Austyn  and  Ambrose,  1576 

W/t/i  pylyons  on  her  hedys,  stood  lyke  doctours. 
Bernard  wkh  Anselme,  and,  as  I  suppose, 

Thomas  of  Alquyfi,  &  Domynyk,  confessours,         1579 
Benet,  &  Hew,  relygyous  gourrnours, 
Martyne,  &  lohn,  wkh  bysshops  tweyne, 
Were  there  also,  &  Crysostom  certeyne.  1582 


The  School  of  Doctrine. 


47 


227 
Behynde  all  these  was  worshipfull  Beede.  1583 

All  behynde  &  next  him  stood  Orygene, 
Hydyng  hys  face,  as  he  of  hys  deede 

Had  hem  ashamyd  —  ye  woot  what  I  mene  ;  1586 

For  of  erroz/T  was  he  nat  all  clene. 

And  on  that  syde  stood  there,  last  of  all. 
The  nobyll  p/7;phetyssa,  Sybyll  men  hyr  call.      1589 
228 
Let  me  remembre  me,  now  I  yow  pray,  159° 

My  brayne  ys  so  thynne,  I  deme  in  myfi  hert 
Som  of  the  felyshyp  that  I  there  say, 

In  all  thys  whyle,  have  I  ouif;stert.  ^593 

A  benedycyte  nooii  ere  cowde  I  aduert 

To  thvnke  on  Andrew  the  Apostyll  w/t/^  hys  crosse, 
Whom  to  forgete  were  a  gret  losse.  1596 

229 
Many  ooii  moo  were  peyntyd  on  that  wall,  ^597 

Whos  names  now  come  nat  to  my  remembraunce. 
But  these  I  markyd  in  especiall. 

And  moo  cowde  I  tell,  in  contyniiaunce 
Of  tyme,  but  forthe  to  shewe  yow  the  substaunce 
''    Of  thys  matyr,  in  the  mydd^i'  of  that  herbere, 
Sate  Doctryne,  coloryd  as  any  crystall  clere. 
230 
Crownyd  as  I  tolde  yow  late  here  before, 

Whos  apparayll  was  worthe  tresour  infynyte  — 
All  erthely  rychesse  count  I  no  more 

To  that  in  comparyson  valewyng  then  a  myte.       1607 
Ouer  her  heede  houyd  a  culuer  fayre  &  whyte, 
Oute  of  whos  byll  procedyd  a  gret  leme 
Downward  to  Doctryne,  lyke  a  son  beme. 
231 
The  wordys  of  Doctryne  yaue  gret  redolence, 
In  swetness  of  sauo/^r,  to  her  dysciples  all. 
Hyt  ferre  excedyd  myrre  and  frankensence 

Or  any  other  tre  spyce  or  ellys  gall.  161 4 

And  when  she  me  aspved,  anon  she  gan  me  call. 

And  C6i?;/maundvd  Morpheus  that  he  shuld  bryng  me  neere ; 
For  she  wolde  me  shew  the  effecte  of  my  desyre.  161 7 


In  the  midst 
,  of  the  harbor 

1000     sits  Doctrine 
richly 
appareled. 


1603 
1604 


Over  her  head 
hovers  a 
I  6  I  O     culver. 


1  6  I  I     Her  words 
savor  sweet. 


She  bids  me 
come  near. 


48 


Doctrine' s  Interpretation . 


Doctrine 

interprets  the 
vision. 


Imprisonment 

of  Eolus 

signifies  that 

unbridled 

wealth 

increaseth 

misrule. 


Minos  judges 
every  man 
according  to 
his  wiclced- 
ness. 


The  complaint 
of  Diana  and 
Neptune 
against  Kohis 
signifies  the 
folly  of  fools 
in  attempting 
the  impossible. 


232 

She  seyde,  "I  know  the  cause  of  thy  cowmyng  1618 

Ys  to  vndyrstand,  be  mvn  enforinacion, 
Sensybly,  the  mater  of  Morjjheus  hvs  shewyng 

As  he  hath  the  ledde  aboute  in  vvsvon.  1621 

Wherfore  now  I  apply  thy  naturall  resoii 
Vnto  HIV  wordys,  &,  ef  thow  hens  wende, 
Thow  shalt  hit  know,  begynnyng  &  ende.  1624 

233 
"  Furst,  where  Eolus  to  Pluto  was  brought,  1625 

By  hys  owne  neglygence  takyn  prysonere 
W/t//yn  the  erthe  :  for  he  to  ferre  sought  — 

Sygnyfyed  ys  nomore  be  that  niatere  1628 

But  oonly  to  shew  the  howe  hit  dothe  apere 
That  welthe.  vnbrydelyd  dayly  at  thyne  ey, 
Encreseth  niysrewle  &  oft  causyth  foly.  1631 

234 
"For  lyke  as  Eolus,  beyng  at  hys  large,  1632 

Streytyd  hy;;/  sylf  thorow  his  owne  lewdenesse  — 
For  he  wold  deele  where  he  had  no  charge  — 

Ryght  so  wantons,  by  her  wyldenesse,  1635 

Oft  sythe  bryng  hem  sylf  in  dystresse. 
Because  they  somtynie  to  largely  deele. 
What  may  worse  be  suffryd  than  ou^r  mykyll  weele 

235 
"By  Mynos,  the  iuge  of  hell  desp<:';-ate,  1639 

May  he  vndyrstand  Godd^J  ryghtwysnes, 
That  to  eucvy  w'yght  hys  peyne  deputate 

Assygneth,  acordyng  to  hys  wykydnes.  1642 

Wherfore  he  ys  callyd  luge  of  crewelnes. 
And  as  for  Diana  &  Neptuiiwj  co?;/pleynt, 
Fyguryd  may  be  fooles  reson  feynte.  1645 

236 
"For  lyke  as  they  made  her  suggestion  1646 

To  haue  me  Eolus  from  course  of  hys  kynde 
Whyche  was  impossible  to  bryng  to  correccion. 

For  eur?-more  hys  liberte  haue  wyll  the  wynde.       1649 
In  lyke  wyse,  fooles  otherwhyle  be  blynde, 
Wenyng  to  subdew,  w/t//  her  ooii  hande. 
That  ys  ower  mekyll  for  all  .xw  hoole  lande.         1653 


Doctrine' s  Interpretation. 


49 


237 
"But  what  foloweth  therof  that  shall  thow  heere  : 

When  they  were  come  to  the  banket, 
The  gret  Apollo,  w/t/^  hys  sad  chere, 

So  fayre  &  curteysly  gan  theym  entrete, 
That  he  made  her  beerdys  on  the  new  gete. 
Loo,  what  wysdom  dothe  to  a  foole  — 
Wherfore  ar  chyldren  put  to  scoole. 
238 
*'  Oft  ys  hit  seene,  wivh  sobre  contenaunce, 

That  wyse  men  fooles  oucvcome  ay, 
Turnyng  as  hem  lyst  and  all  her  varyaunce, 
Chau;/ge  from  ernest  in  to  mery  play. 
What  were  they  bothe  amendyd  that  day? 
When  they  were  dreuyn  to  her  wytti^j'  ende, 
Were  they  nat  fayne  to  graunt  to  be  hys  frende? 

239 
"  Ryght  so  fooles,  when  thev  haue  doofi 
All  that  they  can,  than  be  they  fayne 
Yeue  vp  her  mater  to  oblyuyoii. 

W/t//out  rewarde  they  haue  no  more  brayne. 
And  yet  full  oft  hath  hit  be  seyne, 

When  they  hit  haue  foryete  and  set  at  nought. 
That  thev  full  deere  haue  aftyrward  hit  bought. 
240 
"And  as  for  all  tho  that  rep^rsent 

To  be  callvd  goddys  at  that  banket. 
Resemble  false  vdollys ;  but  to  thys  entent 

Was  Morpheous  cowmaundyd  thedvr  the  to  fet. 
That  thow  shuldest  know  the  man<!V-  &  the  get 
Of  the  paynym  lawe  and  of  her  beleue. 
How  false  idolatry  ledeth  hem  by  the  sleue. 
241 
"  For  soone  vppon  the  worldys  creacion. 

When  Adam  &  Eue  had  broke  the  precept  — 
Whyche  clerked  call  the  Tyme  of  Deuyacion, 
The  worldly  pepvll  in  paynym  law  slept, 
Tyll  Moyses  vndyr  God  the  tables  of  stone  kept. 
In  whvche  tvme  poetys  feynvd  many  a  fable 
Todyscrete  reson  rvght  acceptable. 


1653 


Apollo  at  his 
banquet 
--     ^     causes  their 
1050     complaint  to 
be  forgotten. 


1659 
1660 

1663 

1666 
1667 

1670 
1673 


So  fools  give 
up  their  matter 
to  oblivion. 


1674    The  Gods 

resemble  false 
idols. 


1677 


16SO 


1681 


In  the  begin- 
.  o        "'"g  people 
1004     slept  in  pagan 


The  poets 
1687     feigned  many 


50  Doctrine'' s  Interprctatioi. 

242 

"And  to  the  entent  that  they  should  sownde  1688 

To  the  eares  of  hem  the  more  plesauntly 
eiven  ^oITpd      i'hat  thev  shuld  reede  or  here,  /ev  vaue  thevw  a  grounde 
calledTods!"'^        And  addvd  names  vnto  they/;/  naturally:  1691 

Of  whom  thev  spake  &  callvd  hem  godd/^j-  hv, 
Som  for  the  strevngthe  &:  mvght  of  her  nature, 
And  som  for  her  sotyll  wyttv  conjecture.  1694 

243 
"By  nature  thus  as  the  seuvn  j)lanettvs  1695 

Haue  her  pr^pre  names  by  astronomers. 
But  goddvs  were  they  called  by  oold  j)oetys. 

For  her  gret  feruency  of  wyrkyng  in  her  speres —  1698 
Exp^^ryence  preueth  thys  at  all  yeres. 
And  for  as  other  that  goddi^j'  callyd  be 
For  sotyll  wytte,  that  shall  I  teche  the.  1701 

244 

"How  they  by  that  hygh  name  of  god  came.  1702 

In  thys  seyd  tyme,  the  pepyll  was  so  rude 
That  what  man^*/-  creature,  man  or  woman, 

Cowde  any  nouelte  contryue  &  conclude  1705 

For  the  comon  wele,  all  the  multitude 

Of  the  comon  peple  a  god  shuld  hy;//  call. 

Or  a  goddesse,  aftyr  hit  was  fall  1708 

245 
"Of  the  same  thyng  that  was  so  new  founde —  1709 

^sthmightto       As  Ceres,  for  she  the  craft  of  tylthe  founde, 
prod^ucTo'/"^       Wherby  more  plenteuosly  corne  dyd  habounde, 
therefore'"'''         The  pepyll  he?  callyd  thorout  eurry  londe  1712 

of  Cor?.°'^'^"'        Goddesse  of  Corne,  wenyng  in  her  honde 

Had  leyfi  all  power  of  cornys  habundaunce. 
Thus  wer  the  paynemes  deceyuyd  by  ignoraunce. 
246 
Soisis.Pan,      "In  lykc  raanr/--,  Isys  was  callyd  the  Goddesse  1716 

Of  Frute,  for  she  fyrst  made  hit  multyply 
By  the  meane  of  gryffyng :  and  so  by  processe 

The  name  of  Pan  gan  to  deyfy,  17 19 

For  he  furst  founde  the  mene  shepe  to  guy. 
Som  tooke  hit  also  by  her  condiciofi 
As  Pluto,  Fortune,  &  suche  other  dofi.  1722 


etc, 


Doctrine' s  Interpretation. 


51 


247 
"Thus  all  that  poetys  put  vndyr  couerture  1723 

OH^le  the  rurall  pepyll  hit  took 
Propyrly  as  acte,  refusyng  the  fygure ; 

Which  errour  som  of  hem  neucv  forsook.  1726 

Oft  a  false  myrro/^r  deceyueth  a  mannys  look, 
As  thow  mayst  dayly  pr^ue  at  thyne  ey.^ 
Thus  were  the  paynyms  deseuyd  genr/-ally.  1729 

248 
"That  seyng,  the  dedely  enemy  of  mankynde,  1730 

By  hys  power  p^rmyssyue,  entryd  the  ymag^^y 
Wit/iyn  the  temples  to  make  the  pepyll  blynde 

In  her  idolatry,  standyng  on  hygh  stag.^i';  I733 

In  so  moche,  whoo  vsyd  daungerous  passag.fj', 
Any  manifr  wey  by  watyr  or  be  londe, 
When  hyd  hys  sacryfyce,  hys  answere  redy  founde. 
249 
"Thus  duryng  the  Tyme  of  Deuyacion.  i737 

From  Adam  to  Moyses,  was  idolatry 
Thorow  the  world  vsyd  in  comon  opynyoii. 

These  were  the  goddys  that  thow  there  sy.  1740 

And  as  for  the  awayters  that  stood  hem  by 
They  polytyk  philcsophyrs  &  poet^^  were, 
Whyche  feynyd  the  fables  that  I  speke  of  here.  1743 
250 
"Then  sesyd  the  Tyme  of  Deuyacion,  i744 

When  Moyses  receuyd  that  tables  of  stone, 
Entryng  the  Tyme  of  Reuocacion. 

On  the  Mount  of  Synay,  stondyng  alone,  1747 

God  yaue  hym  myght  ayene  all  hys  fone. 
And  then  began  the  Olde  Testament 
Whyche  to  the  pepyll  by  Moyses  was  sent.  1750 

251 
"And  that  tyme  duryd  to  the  incarnacion  1751 

Of    Cryst,  &  then  began  hit  to  sese. 
For  then  came  the  Tyme  of  Reconsylyacion 

Of  man  to  God  —  I  tell  the  doutlese —  i754 

When  the  Son  of  Man  put  hym  in  prese, 
Wylfully  to  suffre  dethe  for  mankynde. 
In  holy  scrypture  thys  mayst  thow  fynde.  1757 


The  gods  at 
the  banquet 
are  the  idols, 
the  waiters  are 
the  poets  and 
philosophers 
who  feigned 
the  fables. 


The  three 
times. 
Deviation, 
Revocation, 


Reconcilia- 
tion, 


52 


Doctrine' s  l7itc?-prciation . 


are  portrayed 
upon  the  walls. 


The  time  of 
Pilgrimage  or 
of  War  is 
figured  upon 
the  fourth  wall. 


This  is 
signified  by 
the  battle 
between  Vice 
and  Virtue. 


252 

"Thys  Reconsylyacion  was  the  Tyme  of  Grace,  1758 

When  foundyd  was  the  churche  vppon  the  feyr  stoon, 
And  to  holy  Petvr  the  key  delyiuvvd  was 

Of  heuvn  ;   then  helle  dvsj)ovled  was  anooii.  1761 

Thus  was  inankvnde  delviuvvd  from  hys  foofi. 
And  then  began  the  New  Testament 
That  the  Crystyn  i)epvll  beleue  in  p;rsent.  1764 

253 
"Whyche  iii  tymes,  a  sondry  deuydyd,  1765 

Mayst  thow  here  see,  yef  thow  lyst  beholde. 
The  furst  behynde  the  yn  pycture  ys  prouydyd. 

The  second  of  the  lyft  hande  shewe  p/'^phet<'jr  olde.  i  768 
The  iii''"  on  the  ryght  hande  here  hit  ys  to  the  tolde. 
Thus  hast  thow  in  vysyon  the  verrey  fygure 
Of  these  iii  tymes  here  shewyd  in  purtrayture.     1771 

254 
"That  ys  to  sey,  furst,  of  Deuyacion  1772 

From  Adam  to  Moyses,  recordyng  Scripture  ; 
Secund,  fro  Moyses  to  the  incarnacion 

Of  Cryst  kepeth  Reuocac/ons  cure.  i775 

And  as  for  the  thryd,  thow  mayst  be  \crxQy  sure, 
Wyll  dure  from  thens  to  the  worldi^j'  ende. 
But  now  the  iiii"'  must    thow  haue  in  mynde,      1778 

255 
"Whycheyscallyd  p;7^purly,  theTymeof  Pylgremage  1779 

Aftyr  som  ;  &  som  name  hit  otherwyse 
And  call  hyt  the  Tyme  of  Daungerous  Passage  ; 

And  som  Tyme  of  Werre,  that  fully  hyt  dyspyse.     1782 
But  what  so  hit  be  namyd,  I  woll  the  auvse  — 

Remembre  hit  well  and  prynte  hit  in  thy  mynde, 
Wherof  the  fygure  mayst  thow  me  behynde.        17S5 
256 
"And  elles  remembre  thysylf  in  thyn  hert,  17S6 

Howe  Vyce  &  V^rtu  dayly  theyw  occupy, 
In  manr/-,  oon  of  hem  hym  to  p^ruert. 

Another,  to  bryng  hym  to  endeles  glory.  1789 

Thus  they  contynu  fyght  for  the  victory. 
Hyt  ys  no  nede  herof  to  tell  the  moore. 
For  in  thys  short  vysyon  thow  hast  seen  hit   before. 


Doctrine' s  Interpretation. 


53 


257 


1793 


1796 


1799 


iSoo 


1803 


"And  as  for  Attropos  greuous  co^-'/pIeynt 

Vnto  the  goddi^'j'  betokeneth  noniore 
But  oonly  to  shewe  the  how  frendely  constreynt 
On  a  stedfast  hert  weyeth  full  soore. 
Good  wyll  requyreth  good  wyll  ayene  therfore. 
Dyscorde  to  Dethe  hathe  ay  byn  a  frende, 
For  Dyscorde  bryngeth  many  to  her  ende. 
258 
"Wherfore  Dethe  thought  he  wolde  avengyd  be 

Oil  hys  frendc'jr  quarell  yef  that  he  myght, 
For  her  gret  vnkyndnes,  in  so  moche  as  she 
Was  among  hem  all  had  so  in  despyte 
And  at  that  banket  made  of  so  lyte; 

Whyche  causyd  hy;;/  among  hem  to  cast  in  a  booii, 
That  found  theyw  gnawyng  ynough  eu^vychooii.  1806 
259 
"Thus  oft  ys  seen  00  frende  for  a  nothef 

Wyll  say  &  do  &  somtyme  matyrs  feyne ; 
And  also  kynnysmen,  a  cosyii,  or  a  brother, 
Woll  for  hvs  aly,  er  he  haue  cause,  compleyne. 
And  where  that  he  loueth  do  hys  besy  peyne, 
Hys  frendrj-  matyf  as  hys  owne  to  take, 
Whyche  oft  sythe  causeth  mochyll  sorovv  awake.  181 3 
260 
"Be  hyt  ryght  or  wrong,  he  changeth  nat  a  myte—    1814 

As  toward  that  poynt  he  taketh  lytell  heede. 
So  that  he  may  haue  hys  froward  appetyte 

Pd'rformyd,  he  careth  nat  howe  hys  soule  speede,  1817 
Of  God  or  deuyll  have  suche  lytyll  dreede. 
Howe  be  hyt,  ooii  the?  ys  paX.  Lorde  ys  of  all, 
Whyche  to  eu^/y  wyght  at  last  rewarde  shall.      1820 
261 
"And  as  for  the  batayll  betwene  Vyce  &  V^rtew  holde, 

So  pleynly  appereth  to  the  inwardly, 
To  make  exposicion  therof,  new  or  olde, 

Were  but  supi^rfluyte — therfore  refuse  hit  I.  1824 

In  man  shall  thow  fynde  that  werre  kept  dayly, 
Lyke  as  thow  hast  seen  hit  fowtyn  before  thy  face; 
The  pyctuf  me  behynde  shewyth  hit  in  lytyll  space. 


1807 


l«IO 


The  complaint 
of  Atropos 
signifies  the 
constraint  of 
friendship — 
Discord  and 
Death. 


The  alliance 
of  friends  often 
causes  sorrow. 


The  battle  of 
Vice  and 
Virtuesignifies 
the  moral 
struggle  in  the 
human  soul. 


54 


Doctrine's  Interpretation. 


Microcosm  is 
the  world  of 
man. 


Perseverance 
betokens  the 
continuance  of 
virtuous 
living. 

Whoso 
perseveres  is 
rewarded  with 


Prescience  and 
Predestination 
are  the 
rewarders  of 
vice  and 
virtue. 


The  five  keys 
are  man's  five 
wits. 


Residivacion 
signifies  the 
return  of  man 
to  sin. 


Reason  and 
Sadness 
prevent  such 
conclusion. 


262 

"And  as  for  Macrocosme,  hit  ys  no  more  to  say        1828 

But  the  lesse  worlde,  to  the  conion  entent 
Whyche  applyed  ys  to  man  both  nvi^^lit  and  day  — 

So  ys  man  the  felde  to  whyche  all  were  sent  1831 

On  both  partyes;  &  they  that  thedyr  went 
Sygnyfy  nomore  but  aftyr  the  condicioh 
Of  Q-wery  mans  oi)ynyon.  1834 

263 
"And  as  for  the  nobvll  knyght  Prrseueraunce,  1835 

Whyche  gate  the  felde  when  hit  was  almost  gooii, 
Betokeneth  nomore  but  the  contynuaunce 

Of  w/'tuous  lyuyng  tyll  dethe  hath  oU(r;'goon.         1S38 
Who  so  wyll  doo,  rewardyd  ys  anon, 
As  Vertu  was  w/t^  the  crowne  on  hy, 
Whyche  ys  nomore  but  eucvlastyng  glory.  1841 

264 
"And  as  for  Prescience  and  Predestinacion,  1842 

That  eche  of  hem  rewardyd  aftyr  hys  desert, 
Is  to  vndyrstond  nomore  but  dampnacion 

To  vycyous  pepyll  ys  the  \erxty  scourge  smert       1S45 
Rewarde;  for  they  fro  V^rtu  wolde  p^ruert. 
And  endelese  ioy  ys  to  hem  that  be  electe 
Rewardyd  &  to  all  that  folow  the  same  secte.     1S48 
265 
"And  as  for  the  keyes  of  the  posterns  fyue,  1S49 

Whyche  were  to  Morpheus  rewardyd  for  hys  labo///-, 
Sygnyfy  nat  ellys  but  whvle  man  ys  on  lyue 

Hys  V  inwarde  wyttri'  shall)e  evir/y  houre  1852 

In  hj^s  slepe  occupyed,  in  hele  and  in  langoure, 
W/t/i  fantasyes,  tryfyls,  illusions  &  dremes, 
Whyche  poetys  call  Morpheus  stremes.  1S55 

266 
"And  as  for  Resydiuacion  ys  nomore  to  sey  1856 

But  aftyr  confession  turnyng  ayene  to  syn, 
Whyche  to  eui?ry  man  retorneth  sauns  deley 

To  vycyous  lyuyng  ageyn  liym  to  wyn.  1859 

Whyle  any  man  lyueth  wyll  hit  neurr  blyn, 
That  cursyd  conclusion  for  to  brvng  abowte, 
But  Rcson  w/t//  Sadnes  kepe  hit  styll  owte.         1S62 


Doctrine^ s  Interpretation. 


55 


267 
"Here  hast  thow  pr^purly  the  v^rrey  sentence  1863 

Herde  now  declaryd  of  thys  vysyon. 
The  pycture  also  yeueth  clere  intellygence, 

Therof  beholdyn  w/t//  good  discresyon.  1866 

Loke  well  aboute  &  take  consyderasion, 
As  I  haue  declaryd,  whether  hit  so  be." 
"A  syr,"  quoth  Morpheus,  "what  tolde  I  the!  1869 
268 
"Hast  thow  nat  now  thyne  hert^^i'  desyre?  1870 

Loke  on  yon  wall  yonder  before." 
And  all  that  tyme  stood  I  in  a  wyre 

Whyche  way  furst  myn  hert  wold  yeue  more  1873 

To  looke;  in  a  stody  stood  I  therfore. 

Neui^rthelese  at  last,  as  Morpheus  me  badde, 
I  lokyd  forward  w/t//  countenaunce  sadde,  1876 

269 
Where  I  behelde  in  portrayture  1877 

The  man^r  of  the  felde,  euyfi  as  hit  was 
Shewyd  me  before ;   &  eurry  creature 

Oil  boothe  sydes  beyng  drawyn  in  small  space       1880 
So  curyously,  in  so  lytell  a  compace, 

In  all  thys  world  was  neurr  thyng  wrought ; 
It  were  impossyble  in  erthe  to  be  thought.  1883 

270 
And  when  I  had  long  beholde  that  pycture —  1884 

"What,"  quoth  Morpheous,  "  how  long  shalt  thow  looke, 
Daryng  as  a  dastard,  on  yoii  portrayture? 

Come  of  for  shame;  thy  wytte  stant  a  crooke."      1887 
I  heryng  that  myfi  hert  to  me  tooke, 

Towarde  the  iiii"'  wall  turnyng  my  vysage, 
Where  I  sawe  poetys  &  phylosophyrs  sage,  1890 

271 
Many  ooii  mo  then  at  the  banket  i8gi 

Seruyd  the  goddi?^,  as  I  seyde  before. 
Som  were  made  standyng,  &  som  in  chayer<?i-  set, 

Som  lookyng  oh  book^j-,  as  they  had  stodyed  sore,  1894 
Som  drawyng  almenak^i",  &  in  her  handi?^  bore 
Astyrlabes,  takyng  the  altytude  of  the  sonne  — 
Among  whom  Dyogenes  sate  in  a  tonne.  1897 


All  things  as 
described  are 
portrayed  upon 
the  wall. 


I  look  to  the 
fourth  wall, 
where  are 
poets  and 
philosophers. 


56 


Doctrine's  Iiitcrprctdiion. 


272 
And  as  I  was  lokyng  on  that  fourthe  wall,  1898 

Of  Dyogenes  beholdyng  the  ymage, 
Sodeynly  Doctryne  began  me  to  call, 

And  bad  me  turne  toward  hyr  my  vysage.  1901 

And  so  then  I  dyd  w/t>^  humble  corage.  [thentent 

"What  thynkest  thow,"  she  sayde,  "hast  thow  nat 
Yet  of  these  foure  wallys — what  they  represent?  1904 


Doctrine 
explains  the 
pictures  of  the 
Times. 


Spend  well  the 
Time  of 
Reconcilia- 
tion. 


This  reminds 
me  of  my 
former  doubt. 


I  prajr 
Doctrine  to 
reconcile 
Reason  and 
Sensuality, 


"The  pycture  on  the  fyrst,  that  standeth  at  mv  bake,  1905 

Sheweth  the  the  pyrsent  Tyme  of  Pvlgremage, 
Of  whyche  before  I  vnto  the  spake, 

Whyche  ys  the  Tyme  of  Daungerus  Passage.  1908 

The  secund,  dyrectly  ageyfi  my  vysage. 
The  Tyme  expresseth  of  Deuyacion, 
Whyle  paynym  lawe  had  the  domynacion.  191 1 

274 
"The  thryd  wall,  standyng  on  my  lyft  hande,  191 2 

The  Tyme  repz-^senteth  of  Reuocacion. 
And  the  fourth,  standyng  on  my  ryght  hande, 

Deti^/'inyneth  the  Tyme  of  Reconsylyacion.  191 5 

Thys  ys  the  effect -of  thy  vysion. 

Wherfore  the  nedyth  nomore  theron  to  muse — 
Hit  were  but  veyn  thy  witt^j'  to  dysvse.  1918 

275 
"But  duryng  the  Tyme  of  Reconsiliacion  1919 

Thy  Tyme  of  Pylgremage  looke  well  thow  spende 
And  then  woll  gracious  Predestinacion 

Bryng  the  to  glory  at  thy  last  ende."  1922 

And  euyn  with  that  cam  to  my  mynde 
My  furst  conclusion  that  I  was  abowte 
To  haue  drevyii,  er  slepe  made  me  to  lowte —   1925 
276 
That  ys  to  sey,  howe  Sensualyte  1926 

W/t//  Reason  to  acorde  myght  be  brought  aboute. 
Whyche  causyd  me  to  knele  downe  on  my  kne 

And  beseke  Doctryne  detdrmvne  that  doute.  1929 

"Oo  Lord  God  I"  seyde  Doctryne,  "canst  thow  nat  wkh 
Me  that  conclusion  bryng  to  an  ende?  [oute 

Ferre  ys  fro  the  wytte  &:  ferther  good  mende."  1932 


Accord  of  Reason  atid  Sensuality. 


57 


of  whom  I  am 
afraid. 


Reason  and 
Sensuality- 
come  thither. 


277 

And  euen  w/t//  that  Dethe  gan  appere,  1933   Death  enters; 

Shewyng  hymsylf  as  though  that  he  wolde 
Hys  darte  haue  occupyed  \\7t//yn  that  herbere. 

But  thef  was  noon  for  hym,  yong  nor  olde,  1936 

Saue  oonly  I,  Doctryne  hym  tolde, 

And  when  I  herde  hyr  w/t//  hy;;;  comon  thus, 
I  me  w/t//drew  behynde  Morpheus,  ^939 

278 
Dredyng  full  soore  lest  he  w/t//  hys  dart,  1940 

Thorow  Doctrynes  word<^^,  any  entresse 
In  me  wolde  haue  had  or  claymed  any  part — ■ 

Whyche  shuld  haue  causyd  me  gret  heuynesse.      1943 
W/t//yn  whyche  tyme  &  short  processe. 
Came  theder  Reason  &  Sensualyte. 
"A,"  quoth  Doctryne,  "ryght  welcome  be  ye.     1946 
279 
*' Hyt  ys  nat  long  syth  we  of  yow  spake.  1947 

Ye  must,  er  ye  go,  det(^;'myne  a  dowte." 
And  euyfi  whh  that  she  the  mater  brake 

To  they/«  and  tolde  hit  t-wery  where  abowte.  1950 

I  wold  haue  be  thens,  yef  I  had  mowte. 
For  feere  I  lookyd  as  blak  as  a  coole. 
I  wold  haue  cropyn  in  a  mouse  hoole.  1953 

280 
"What!"  quoth  Doctryne,  "where  ys  he  now,  i954 

That  meuyd  thys  mater  straunge  &  diffuse  ? 
He  ys  a  coward  —  I  make  myfi  avow. 

He  hydeth  hys  hede,  hys  mocion  to  refuse."  ^957 

"Blame  hym  nat,"  quoth  Reson,  "alwey  that  to  vse 
When  he  seeth  Dethe  so  neere  at  hys  hande. 
Yet  ys  h\-s  part  hym  to  wythstande.  1960 

281 
"Or,  at  the  leste  way,  ellys  fro  hym  flee  1961 

As  long  as  he  may  —  who  dothe  otherwyse 
As  an  ydiote."     Quoth  Sensualyte, 

'Who  dredvth   nat  Dethe  wyse  men  hym  dyspyse." 
"What!"  seyde  Doctryne,  "how  long  hathe  thys  gyse 
Beholdyn  &  vsyd  thus  atwyx  yow  tweyne  ? 
Yee  were  nat  wont  to  acorde  certeyne."  1967 


I  am  more 
afraid. 


Reason 
excuses  my 
fear,  since 
Death  is  to  be 
shunned. 


With  which 
sentiment 
Sensuality 
accords. 


58 


Accord  of  Reason  and  Sensuality. 


This  solves 
my  question. 


Death, 
Reason,  and 
Sensuality 
vanish. 


The  matter  is 
not  wholly 
clear. 


282 

"Yes,"  quoth  Reson,  "in  thys  poynt,  ahvay  1968 

To  eurrv  man  haue  we  veuen  ou^  counsayll 
Detlie  for  to  flee  as  long  as  they  may. 

All  though  we  otherwyse  haue  done  our  trauayll   197 1 
Yche  other  to  represse,  yet  w/t/;oute  fayll 
In  that  poynt  oonlv  dvscordyd  we  neurr. 
Thus  condescendyd  theryn  be  we  for  eu<rr."        1974 
283 
"A!  A!"  seyde  Doctryne,  "then  ys  the  conclusion     1975 

Clerely  determynyd  of  the  gret  dowte 
That  here  was  meuvd"  —  &  halfe  in  derysion 

She  me  then  callyd  &:  bade  me  loke  owte.  1978 

"Come  forthe,"  she  seyde,  "and  feere  nat  thys  rowte." 

And  euen  w/t/;  that,  Reson  and  Sensualyte 

And  Dethe  fro  thens  were  vanysshyd  all  thre.     1981 

284 

Then  lokyd  I  forthe  as  Doctryne  me  badde.  1982 

When  Dethe  was  gooii,  me  thought  I  was  bolde 
To  shew  my  sylf,  but  yet  was  I  sadde. 

Me  thought  my  dowte  was  nat  as  I  wolde,  1985 

Clerely  and  opynly  declaryd  &:  tolde. 
Hit  sownyd  to  me  as  a  parable, 

Derke  as  a  myste,  or  a  feynyd  fable.  1988 

285 
And  Doctryne  my  conceyte  gan  espy.  1989 

"Wherfore,"  seyde  she,  "standyst  thow  so  styll  ? 
Whereyn  ys  thy  thought?      Art  thow  in  stody 

Of  thy  question  ?     Hast  thow  nat  thy  fyll  1992 

To  the  declaryd?     Tell  me  thy  wyll. 
Hardest  thow  nat  Reson  &  Sensualyte 
Declare  thy  dowte  here  before  the?"  1995 

2S6 
"Forsothe,"  quoth  I,  "I  herde  what  they  seyde.         1996 

But  neu^rthelese  my  wyt  ys  so  thynne, 
And  also  of  Dethe  I  Avas  so  afrayed, 

That  hit  ys  oute  where  hyt  went  ynne.  ^999 

And  so  that  matyr  can  I  nat  wynne 
W/t//out  yo«r  helpe  &  benyuolence 
Thefof  to  expresse  the  yerray  sentence."  2002 


/ 


Accord  of  Reason  and  Sensuality. 


59 


287 
"Well,"  quoth  Doctryne  "then  yeue  attendaunce 

Vnto  my  wordes,  &  thow  shalt  here 
Opynly  declarvd  the  concordaunce 
Atwene  Sensualyte  &  Reson  in  fere. 
Yef  thow  take  hede,  hit  clerely  dothe  apere 
How  they  were  knette  in  ooii  opynyon. 
Bothe  agayh  Dethe  helde  contradyccyon. 
288 
"Whyche  concordaunce  nomore  sygnyfyeth 

To  pleyne  vndyrstandyng,  but  in  eu^/y  mane 
Bothe  Sensualyte  &  Reson  applyeth 

Rather  Dethe  to  fle  then  wiih  hit  to  be  tane. 
Loo  in  that  poynt  accorde  they  holly  thane. 
And  in  all  other  they  clerely  dyscorde. 
Thus  ys  trewly  set  thy  doutfull  monacorde." 
289 
I,  heryng  that,  knelyd  on  my  kne 

An  thankyd  her  lowly  for  hyr  dyscyplyne, 
That  she  vouchesafe,  of  hyr  benygnyte, 
Of  tho  gret  dowtys  -me  to  enlumyne. 
Well  was  she  worthy  to  be  called  Doctryne, 
Yef  hit  had  be  nomore  but  for  the  solucion 
Of  my  demaunde  and  of  thys  straunge  vysyon. 
290 
And  as  I  with  myne  heede  began  for  to  bow. 

As  me  well  ought  to  do  hyr  reu^rence, 
She  thens  departyd  —  I  cannat  tell  how. 
But  w/t//yn  a  moment  gooii  was  she  thens. 
Then  seyde  Morpheus,  "  Let  vs  go  hens. 
What  shuld  we  heere  tary  lengere? 
Hast  thow  nat  herde  a  gtwersW  answere 
291 
To  all   thy  matyrs  that  thow  lyst  to  meue? 

My  tyme  draweth  nere  that  I  must  rest." 
And  euyn  therw/t/z  he  tooke  me  by  the  sleue 
And  seyde,  "Goo  we  hens,  for  that  hold  I  best. 
As  good  ys  ynowgh  as  a  gret  feste. 

Thow  hast  seen  ynowgh;  hold  the  content." 
And  euyn  wiih  that  forthe  wiih  hym  I  went, 


2003     Doctrine 

interprets  my 
vision. 


2006 


2009 


In  one  point 
Reason  and 
Sensuality 
20  I  "2     accord — in  the 
•-*     fear  of  Death. 


2016 
2017 


2023 
2024 

2027 

2030 
2031 

2034 

2037 


Doctrine 
suddenly 
vanishes. 


Morpheus 
leads  me  back 


6o 


The    Jlsio/i  Broken. 


to  my  bed 


and  secretly 
steals  away. 


Then  I  awake 


in  great  dread. 


It  is  all  a 
dream. 


Lest  fault  be 
found  in  me, 
I  write  down 
what  I  have 
seen. 


Take  from  my 
writing  the 
best  and  leave 
the  chaff. 


292 

Tyll  he  hade  me  brought  agene  to  rnv  bedde,  203S 

Where  he  me  founde,  and  then  pryuyly 
He  stale  awey.      I  rowde  nat  vndvrstande 

Where  he  became,  but  sodenly  2041 

As  lie  came,  he  went  —  I  tell  vow  vervly. 
Whyche  dooh,  fro  slepe  I  gan  to  awake. 
My  body  all  in  swet  began  for  to  shake  2044 

For  drede  of   the  syght  that  I  had  seene,  2045 

Wenyng  to  me  all  had  be  trew 
Actuelly  doofi  where  I  had  beene, 

The  batayll  holde  twene  Vyce  &  V^rtew.  2048 

But  when  I  sy  hit,  hit  was  but  a  whew, 
A  dreme,  a  fantasy,  &  a  thyng  of  nought. 
To  study  theron  I  had  nomore  thought.  2051 

294 
Tyll  at  the  last  I  gan  me  bethynke  2052 

For  what  cause  shewyd  was  thys  vysyon. 
I  knew  nat ;  wherfore  I  toke  pen  &  ynke 

i\nd  paper  to  make  therof  mencion  2055 

In  wrytyng,  takyng  consideracion 
That  no  defaute  were  founde  in  me, 
Wheron  accusyd  I  ought  for  to  be  2058 

295 
For  slowthe,  that  I  had  left  hit  vntolde —  2059 

Nowthyr  by  mowthe  nor  in  remewbraunce 
Put  hit  in  wrytyng;  wher  thorow  manvfolde 

Weyes  of  accusacion  myght  turne  me  to  greuatince.  2062 
All  thys  I  saw  as  I  lay  in  a  traunce, 
,.^But  whedyr  hit  was  with  myne  ev  bodvly 
Or  nat  in  certayii,  God  knoweth  and  nat  I.        2065 
296 
That  to  dyscerne  I  purpose  nat  to  deele.  2066 

So  large  by  my  wyll  hit  longeth  nat  to  me. 
Were  hit  dreme  or  vysion,  for  your  owii  wele, 

All  that  shall  hit  rede,  here  rad,  or  se,  2069 

Take  therof  the  best  &  let  the  worst  be  — 
Try  out  the  corne  clene  from  the  chaff 
And  then  may  ye  say  ye  have  a  sure  staff  2072 


Exhortation  to    Virtue.  6 1 

297 

To  stande  by  at  nede,  yef  ye  woll  hit  holde  2073 

And  walke  by  the  way  of  V^rtu  hys  loore. 
But  alwey  beware,  be  ye  yong  or  olde, 

That  your  frewyll  ay  to  NcrVw  moore  2076  ^vL'ul.'^^^ 

Apply  than  to  Vyce,  the  eysyer  may  be  boore 
The  burdyn  of  the  fylde,  that  ye  dayly  fyght 

,  ^         '    ^  ...  r  ,,,  ,  ,,  Fight  against 

Agayn  your  \\\  enemyes,  for  all  her  gret  myght.  2079   your  enemies, 
298 
That  vs  to  sey,  the  Deuyll  &  the  Flesshe  2080   the  Devil, 

■'  ■  ■  the  Flesh,  and 

And  also  the  Worlde,  w/t/;  hys  glosyng  chere,  «i>e  Worid. 

Whyche  oh  yow  looketh  eu^r  newe  &  fresshe  — 

But  he  ys  nat  as  he  doth  apere.  2083 

Lok  ye  kepe  yow  ay  out  of  hys  daungere. 
And  so  the  vyctory  shall  ye  obteyne, 

Vyce  fro  yow  exylyd  &  V^-ztew  in  yow  reyne.     2086   you  reign. 
299 
And  then  shall  ye  haue  the  triuwphall  guerdoufi       2087   Thine  be  the 

■'  10  glory  and  the 

That  God  resi^/'ueth  to  eu<fry  creature  celestial 

mansion. 

Aboue  in  hys  celestiall  mansioun, 

Joy  and  blys  infinite,  eternally  to  endure.  2090 

Wherof  we  say  we  wold  fayii  be  sure. 

But  the  wey  thedyrward  to  holde  be  we  lothe, 
That  oft  sythe  causeth  the  good  Lorde  to  be  wrothe. 
300 
And  by  oure  desert  oure  h<^z^itacion  chaungeth  2094 

Fro  ioy  to  peyne  &  woo  p<^rpetuelly. 
From  hys  gloryous  syght  thus  he  vs  estraungeth, 

For  our  vycyous  lyuyng,  thorough  owre  owne  foly.  2097 
Wherfore  let  vs  pray  to  that  Lord  of  Glory, 

,,,,      ,  .  ,        ,  ,         ,  ,,  ■  Let  us  pray 

Whyle  we  in  erthe  bee,  that  he  wyll  yeue  vs  grace,         the  Lord  of 

C  1  4.  A       ^\      ^  '  \      '  \^  Glory  to  give 

bo  vs  here  to  guyde  that  we  may  haue  a  place,  2100   us  grace. 
301 
Accordyng  to  oure  regeneracion,  2101 

W/t/z  heuynly  spyryt(?j-,  hys  name  to  magnyfy  Let  us  magnify 

Whyche  downe  descendyd  for  our  redempcion,  His  name. 

Offryng  hym  sylf  on  the  crosse  to  hys  fadyr  on  hy.    2104 
Now  benygne  Ih<fj-u,  that  borii  was  of  Mary, 

All  that  to  thys  vysion  haue  yovyn  her  audyence,         et^naUoy^o 
Graunt  eternall  ioy  aftyr  thy  last  sentence.  2107    mytTc^k"^"* 

Amen. 


NOTES. 

In   the   notes   and    introduction   references  are  made  to  the  following 
editions  : 

Lydgate's  Minor  Poems,  including  Pur  le  Roy,  Chorle  and  Bird,  and 
Testament,  Halliwell,  Percy  Soc. 
ALsop,  Sauerstein  (Anglia,  IX). 
Temple  of  Glas,  Schick,  E.  E.  T.  Soc. 
Dance  of  Macabre,  MS.  Bodl.  686. 
Falls  of  Princes,  Pynson's  print,  Brit.  Mus. 
Story  of  Thebes,  Speght's  Chaucer,  Lond.  1598. 
Secrees  of  Old  Philisoffres,  Steele,  E.  E.  T.  Soc. 
Chaucer's  Works,  Skeat,  one  vol.  (Macmillan)  ;  also  the  Aldine. 
Langland's  Piers  the  Plowman,  Skeat,  E.  E.  T.  Soc.  Text  B. 
Gower's  Confessio  Amantis,  Pauli,  3  vols. 
Mapes's  Latin  Works,  Wright,  Camden  Soc. 
Michel's  Ayenbite  of  Inwyt,  Morris. 
Rolle  of  Hampole's  Pricke  of  Conscience,  Morris. 
Ancren  Riwle,  Morton. 
Wyclif's  Works,  Arnold,  3  vols. 
Chronicle  of  Robert  of  Brunne  (Anglia,  IX). 
Hawes's  Pastime  of  Pleasure,  Percy  Soc. 
Douglas's  Works,  Small,  4  vols. 
Dunbar's  Works,  Small,  Scot.  Text.  Soc. 
Lyndesay's  Works,  E.  E.  T.  Soc. 
King  James's  Quair,  Skeat,  Scot.  T.  Soc. 
Skelton's  Works,  Dyce. 
Barclay's  Ship  of  Fools,  Jamieson,  2  vols. 
Spenser's  Works,  Morris,  one  vol.  (Macmillan). 
Other  works,  as  specially  indicated. 

P.  I,  1.  I.     The  time  is  near  the  middle  of  July.     Lydgate  has  a  similar  opening 
in  A  Poem  against  Self- Love  (M.  P.,  p.  156): 

"  Toward  the  eende  of  froosty  lanuar^'e, 
Whan  watry  Phehus  had  his  purpoose  take 
For  a  sesoun  to  soiourne  in  Aquarye 
And  Capricorn  hadde  uttirlv  forsake. 

Toward  Aurora  a-morwe  as  I  gan  wake " 

Cf.  the  imitation  hy  Ilawes  in  the  Pastime  of  Pleasure  i 
"  When  I'hehus  entred  was  in  Geniiny, 
Shynyng  above  in  his  fay  re  golden  spere. 
And  horned  Uyane  then  but  one  degree 
In  the  Crabbe  had  entred  favre  and  cleare  ; 
When  that  Aurora  did  well  appeare 
.In  tlie  depured  ayre  and  cruddy  firmament, 
Forth  then  I  walked  without  impediment." 
The  prototype  is  found  in  Mapes'  poem  ^'Apocalypsis  Goliae Episcopi"  which 
contains   also  a  reference  to  Pythagoras  as  the  teacher  to  the  Greeks  of  the 
seven  Arts  of  the  Schools.     P.  is  there  represented  as  having  the  signs  of 

62 


Notes.  (i2i 

the  Arts  on  different  portions  of  tiie  body.     Astrology,   the  highest   form  of 
knowledge,    is    marked    prominently   on   the    forehead.       (Works,   Camden 
Soc.,  ed.,  Wright.) 
Hawes,  in  his  Past,  of  Pleas.,  p.  105,  afiirms  that 

"Thus  God  hym  selfe  is  chief  astronomyer." 

1.  2.  gan.  This  usage  is  maintained  to  the  present.  See  Browning's  Easter 
Day: 

"Which  gan  suspire." 
Used  as  auxiliary  in  1.  624. 

1.3.  Pictagoras  speere.  The  spelling  "  Pictagoras "  occurs  in  the  Rom.  of 
the  Rose  (1.  5649)  for  the  French  "Pythagoras"  (1.  5007).  Chaucer  has 
"Pictagoras"  \\\  \\\t  Bk.  of  the  Duck.  {\.  1167).  Lydgate  uses  "  Pictagoras  " 
in  Min.  P.  (p.  84,  87).  The  philosopher  was  known  in  England  for  his 
science  of  number.     Cf.  Lydgate's  Pur  le  Roy  (M.  P.,  p.  11): 

"And  Arsmetryk,  be  castvng  of  nombrary, 
Chees  Pyktegoras  for  her  parte." 
Chaucer  notes  he  "the  firste  finder  was  of  the  art  (of  music)" — Bk.  of  the 
Duch,  1.  1 168. 

The  sphere  is  according  to  his  mathematics  the  most  perfect  figure  ;  it  is  the 
circle  of  the  heavens.  It  was  used  to  symbolize  the  Soul,  the  Microcosm, 
implying  final  harmony  in  "the  Diapason  closing  full  in  man."  Other 
figures  were  the  triangle,  the  least  perfect  figure,  symbolizing  the  body,  and 
the  quadrate,  in  the  perfect  proportion  of  7  to  9,  embracing  all  the  powers 
of  man.  Cf.  Spenser,  Faery  Qiieene,  Bk.  II.,  c.  9,  st.  22  : 
"The  frame  thereof  seemd  partly  circulare. 

And  part  triangulare,  O  worke  divine,  .... 

And  twixt  them  both  a  quadrate  was  the  base, 

Proportiond  equally  by  seven  and  nine ; 

Nine  was  the  circle  set  in  heavens  place ; 

All  which  compacted  made  a  goodly  Diapase." 
The  ninth  or  cosmological  sphere  represented  harmony,  to  which  end,  accord- 
ing to  the   philosophy,  opposing  elements  were   united.     The   Pythagorean 
sphere  thus  taught  the  poet  the  lesson  he  was  seeking  of  concord. 

P.  2,  1.  9.  obstacle,  habytacle,  tryacle.  Other  sets  of  rimes  occur  thus :  obstacle, 
spectacle,  myracle,  tryacle  (Test.,  Min.  P.  p.  236);  triacle,  obstacle (^tS'w/,  Fab. 
4,  11.  148-50);  obstacle,  myracle  {Seer.,  11.  120-22);  obstacle,  oracle  {Seer., 
11.624-26);  obstacle,  miracle  (Chau.  ^r.  Tale,  11.  571-72);  miracle,  triacle 
(Chau.  Man  of  L.  Tale,  11.  379-81),  etc. 

I.  II.  habytacle.     Cf.  Chau.  Ho.  of  Fame,  1.  11 94: 

"  Weren  sondry  habitacles  ;  " 
Lydgate,  Min.  P.  p.  140  : 

"Whan  th'olygoost  made  his  habitacle  ; " 
Hawes,  Past,  of  Pleas.,  p.  218  : 

"First  God  made  heaven  is  propre  habitacle,"  etc. 

1.  12.  rowne.  Commonly  in  M.  E.  a  distinction  is  made  between  rowne  (to 
mutter)  and  whisper.     Here  =  to  commune. 

1.  12.  tryacle.  Theriaca  was  the  name  given  to  a  medicine  compounded  by 
a  Roman  physician  Andromachus.  I"or  the  history  of  the  word  see  Morley, 
Lib.  of  Engl.  Lit.,  ^.  21.  Lj'dgate  uses  the  term  frequently;  thus  "  Gostly 
tryacle",  Min.  P.  p.  98  ; 

"  Ther  is  no  venome  so  parlious  in  sharpnes 

Os  whan  it  hathe  of  treacle  a  lyknes — "     Ch.  and  Bd.,  Min.  P.  p.  186; 
"  Ageyne  verray  poyson  ordeyned  is  triacle — "     yEsop,  Fab.  4,  1.  148  ; 
"  The  name  of  Ihesu  !  swettest  of  namvs  alle  ! 

Geyn  goostly  venyms,  holsomest  tryacle — "Test.,  M.  P.  p.  236. 
It  is  found  in  Chaucer,  Ma9i  of  L.  Tale,  1.  381  : 

"  Crist,  which  that  is  to  every  harm  triacle  ;" 


64  Notes. 

and  in  Piers  PL  Pas.  2,  1.  I46: 

"  Love  is  triacle  of  hevene." 
Cf.  Beau,  and  Fi.,  Sea  Voyajre  (Dyce,  viii.,  p.  360): 
"  This  may  be  treacle 

Sent  to  preserve  me  after  a  long  fast." 
The  figurative  use  is  very  common. 

\,  14.  Morpheus.  These  dreamers  almost  invariably  have  guides.  Boethius 
was  directed  by  Philosophy,  Dante  by  Virgil  and  Beatrice,  Mapes  by  Pytha- 
goras, King  James  by  Good  Hope,  etc.;  Morpheus  as  a  shewer  of  fancies 
appears  again  in  Higgin's  A/irrour  for  Alagistrales  (1576). 

1.  18.  Mynos  the  iustyse.  Minos  is  first  seen  as  Judge  of  the  lower  world  in 
the  Odyssev.  Virgil  followed  Homer  {Aen.  6,  431).  Dante  selected  him 
as  the  typical  judge  in  the  Inferno  (c.  v.)  in  the  second  circle  of  which  he 
abides  and  examines  sins  at  the  entrance. 

1.  19.  sylogyse.     A  general  term.     Cf.  TIawes,  Past,  of  Pleas,  p.  32  : 
"  Agaynst  your  fables  wyll  often  solisgyse." 

1.  21.  ke  must  nedys  go,etc.  The  proverb  occurs  again  in  Skelton's  Garl.  of 
Laur.,  1.  1434  : 

"Nedes  must  he  rin  that  the  devyll  dryvith." 
Greene  uses  it  in  The   Carde  of  Fancie,  ed.  Grosart,  p.  79,  1.  4.     Hazlitt  in 
his  Proverbs  quotes  an  instance  from  Triall  of  Treasure  (1567). 

1.  34.  ahydytig.     Used  as  a  noun.     Cf.  ALsop,  Fab.  6,  11.  122-23  : 
"  Vender  on  that  other  side 
Is  myn  abidyng." 
Cf.  guydyng,  1.  59. 

I,  35.  Fantasy.  For  the  dwelling  place  of  Morpheus  see  Chaucer's  Ho.  of 
Fame,  Invoc;  Bk.  of  the  Duch..  1.  153  ;  Spenser,  Faery  Queene,  Bk.  I.,  c.  I, 
St.  39  ;  Ariosto,  Orl.  Fur.,  xiv.,  92  ;  Ovid,  Met.,  xi.,  592.  Gower  describes 
the  Cave  of  Sleep  in  Confes.  Am.,  II.,  pp.  102-3.  Cf.  "  The  House  of  Sleep," 
Cook,  Mod.  L.  Notes,  V.,  p.  10. 

1.  37.  Cerberus.  The  constable  is  a  somewhat  new  role  for  Cerberus,  whom 
Dante  describes  as  a  demon,  a  cruel  and  monstrous  beast  tearing  and  flaying 
and  rending  the  spirits  in  Hell  {Infer.,  c.  6).  As  opposing  Christ  he  appears 
in  Lydgate's  Test,  p.  236  : 

" Ihesu 

Took  out  of  helle  soulys  many  a  peyre, 

Mawgre  Cerberus  and  al  his  cruelte." 
He  is  called   "chief   porter    of  hell"  in  Story  of  Thebes,  {o\.  375.     He  was 
known  to  Bunyan  as  the  Porter  of  Hell,  serving  also  as  one   of  the  captains 
of  Diabolus  in  the  Holy  War. 

P-  3i  1-  45-  strayte  correccion.     Cf.  Aisop,  Fab.,  4,  1.  36  : 

"  Straitly  requyreng  the  iuge  in  this  matiere  ;" 
Secrees,  11.  762-3  : 

"  Twen  moche  and  Ivte  a  mene  to  devise 
Of  to  mekyl  and  streight  coveitise  ;" 
idem,  1.  799  : 

"  But  he  that  is  streyght  in  his  kepyng." 

1.52.  in fere^m  company,  together;  O.  E.  ge-fera,  a  companion;  M.  E. 
in  f era  is  a  corruption  of  yfera  which  is  restored  in  Spenser;  and  cf.  Tenny- 
son, Conf.  of  Sens.  Mind: 

"  And  in  the  flocks 

The  lamb  rejoiceth  in  the  year. 

And  raceth  freely  with  his  fere." 
Chaucer  has  yfere  in  Leg.  of  G.  IV.,  Pr.,  1.  263.     Douglas  uses  yfeir. 


Notes.  6  s 

1.  58.  chases.  Technically  a  chase  is  a  private  open  hunting  ground  to  which 
game  resorts,  differing  from  a  "forest"  in  being  open  and  private.  Cf. 
Cheviot  Chase  or  Chevy  Chase. 

1.  59.  cure.     Cf.  Chaucer,  Ho.  of  Fame,  1.  464: 

"For  lupiter  took  of  him  cure." 

1.  65.  comfort.     This  word  has  a  variety  of  meanings  in  M.  E.     Cf.  Glossary. 

1.  66.  roofe  and  rynde^v/hoWy.  Cf.  1.  620,  "croppe  and  roote."  See  Gower, 
Conf.  Avian.  I,  p.  152  : 

"Of  flour  and  gras  and  roote  and  rinde." 

1.  69.  7naner.     For  this   use   of    maner  see  Chaucer,   Compleynte  unto  Pite, 

1.24: 

"  What  maner  man  dar  now  holde  up  his  heed  ?" 
77/1?  Compl.  of  Mars,  1.  116  : 

"For  she  ne  fond  ne  saw  no  maner  wight." 
See  1.  5  :  . 

"  Musyng  on  a  maner," 

1-  1735  : 

"  Any  maner  wey." 
Cf.  Secrees,  1.  7  : 

"  To  euery  maneer  wyght ;" 
idem,  1.  741  : 

"  In  no  maner  wyse." 

1.  71.  syngler.     Cf.  Secrees,  1.  332  : 

"  For  my  moost  vertuous  and  singuleer  counfort ;" 
idem,  1.  1128  : 

"To  his  noblesse  and  his  singuler  glorye." 

4,  1.  87.  kervell.  Cf.  Kersey's  Diet.:  "  Caravel  or  carvel,  a  kind  of  light  round 
ship  with  a  square  Poop,  rigg'd  and  fitted  out  like  a  Galley,  holding  about 
six  score  or  seven  score  Tun."  Columbus's  ships  were  called  "caravels." 
The  vessel  which  Douglas  saw  in  his  vision  {Pal.  of  H.)  that  was  driven 
upon  the  sands  was  called  the  "Carwell  of  the  State  of  Grace." 

1.  88.  karyk-=c2ix\i,  a  large  ship.     Cf.  Chaucer,  Som.  Tale,  Pr.,  1.  24  : 

"  Brodder  than  of  a  carrik  is  the  sayl"  (the  first  use  of  word  in  Engl.). 
The  "  Universal  Ship  "  that  carried  Barclay's  fools  is  called  a  "  carake  "; 
and  see  Ship  of  Fools,  II.,  p.  220: 

"  That  all  the  shyppes  ne  galeys  vnto  Spayne 
Nor  myghty  carakes  cannot  them  well  contayne." 
Cf.  Beaumont  and  Fletcher,  T^i'o  Nob.  Kins: 
'■  Then  would  I  make 
A  carrack  of  a  cockle-shell." 

1.  90.  who.     Note  the  use  of  who  as  relative.     See  1.  769. 

1.  96.  daiingere.  The  M.  L.  damnum  signified  (l)  a  fine  (2)  the  territory  over 
which  a  lord  ruled  (3)  the  enclosed  field  of  a  proprietor  (4)  power  to  exact  a 
penalty.  In  M.  E.  danger  meant  in  general  simply  power  or  jurisdiction. 
Cf.  yEsop,  Fab.  5,  1.  39  : 

"  Thow  were  in  my  daungere." 
See  1.  543  =  territory  or  jurisdiction.     It  had  also  the  modern  meaning  of 
danger  as  in  the  Secrees,  1.  1103  : 

"Avoydyng  al  daungeer." 
See  Wedgwood  for  the  history  of  the  word. 

1,  97.    j-ff///^  =  satisfaction.    Cf.  Digby  Myst.,  N.  Shak.  Soc,  p.  143,  1.  121-3: 
"Wysdom  that  was  god  and  man  right, 
Made  a  full  seth  to  the  fader  of  hevyn 
By  the  dredfull  deth  to  hym  was  dight." 


66  Notes. 

1.  10 1,  a  loft.     Cf.  Temp,  of  Glas,  1.  41  : 

"  Now  lowe  and  eft  aloft ;" 

idem,  1.  645  : 

"  I  am  set  on  loft ;" 
Secrees,  1.  1244  : 

"  Planetvs  a-lofte." 

1.  104.  foam.  This  was  often  used  of  sweat  as  in  Chaucer,  Ch.  Yeo,  Tale, 
Pr.,  1.  12: 

"  He  was  of  fome  (from  sweat)  al  flekked  as  a  pve." 

1.  105.  betyn.     Cf.  Lydgate,  Min.  P.,  p.  168: 

"  Abydithe  so  longe  til  lie  be  betyn  doune." 

P.  5,  1.  116.  in  especial!.  A  very  common  phrase  in  Lydgate.  Cf.  Secrees,  W.  536, 
653,  1041,  10S8,  etc.  I  find  a  modern  use  of  the  phrase  in  Poe's  FAil.  of 
Composition  : 

"  It  is  this  latter,  in  especial,  etc." 

1.  IIQ.  cost.  Frequently  used  for  neighboring  country.  Cf.  Piers  Plow., 
Pas.  ii.,  1.  85  (B): 

"  The  counte  of  coueitise  and  alle  the  costes  aboute." 

1.  126.  pyry.  Cf.  Ir.  piorra,  a  blast  of  wind.  This  is  an  earlier  instance 
than  that  given  in  the  Cent.  Diet.     Cf.  Hawes,  Past,  of  Pleas,  p.  53  : 

"  In  the  stormy  pery." 
/a//j'^=  wrapped.     Cf.  Rob.  of  B.  Ckroti.  1.  1149: 

"  And  bylapped  hem  on  ylk  a  side  ;  " 
Ode  by  Rich.  Barnfield,  1.  24  : 

"  All  thy  friends  are  lapt  in  lead  ;  " 
Breton,  Arb.  of  Am.  Delights  (1593): 

"Sing  lullaby  and  lap  it  warm." 
Browning  uses  it  in  Strafford,  Act  V,  2,  1.  332  : 

"lapped  round  with  horror." 

1.  127.  boystous.  This  i",  the  form  of  the  word  in  Chaucer.  Cf.  J/ann. 
Tale,  1.  107  : 

"  I  am  a  boistous  man  ;  " 
Morte  Arthure,  Th.  MS.,  1.  615  : 

"Thosbustous  churlles." 
The  Story  of  Thebes  has  "boistouslie  "  (fol.  370). 
Boisterous  is  found  by  Shakespeare's  time. 

1.  140.     anysment.     Cf.  Chaucer,  Pari,  of  F.,  11.  554—55: 
"  The  water-foules  han  her  hedes  leyd 
Togeder,  and  of  short  avysement ; " 
Troy,  and  Oris.,  II,  1.  343  : 

"  Avvsement  is  good  bifore  the  nede." 

P.  6,  1.  154.     ifg-fl// =  equall.     Cf.  Lydgate,  Secrees,  1.  386: 

"  Ve  wer  of  lyff  egal  with  hooly  seyntes ; " 
Min.  P.  p.  210  : 

"So  egally  ther  doomys  to  avaunce." 
Paregall  occurs  often  in  Skelton.      Unperegall  is  found  in  Marston,  Dutch 
Courtezan,  IV,  v. 

1.  157.  prima  facie.  The  date  of  the  first  instance  of  the  Engl,  usage  of 
this  phrase  given  in  the  Stanford  Diet.  (Latin  in  Engl.)  is  1646.  Cf.  Chaucer 
in  Trail,  and  Cris.  Ill,  1.  918  : 

"This  accident  so  pitous  was  to  here 
And  eek  so.  lyk  a  sooth,  at  pryme  face." 

1.  162.  onwarde.  Skeat  says  this  did  not  appear  before  Sir  Th.  More  ! 
(Diet.). 


Notes.  67 

1.  163.  messynger.  Formed  from  the  Fr.  message.  When  was  the  n  intro- 
duced? 

Gower  has  messagere  in  Conf.  Atn.,  Ill,  p.  249.  Lydgate  in  Story  of  Thebes 
uses  messengers  (fol.  372)  and  messagere  (fol.  380,  386),  Chaucer  has  both 
messager  and  messanger  (see  Glossary  of  Ch.). 

1.  167.  banket.  In  the  fourteenth  century  the  cloth  or  cushion  covering  a 
bank  or  bench  on  which  dessert  was  served  was  called  a  "  banker  "  ;  a  feast 
came  to  be  called  a  "  banket  "  {Mem.  of  Loud.,  ed.  Riley,  I,  p.  179  and  p.  44). 

7,  1.  191.  ryght  glad.  Right  used  in  this  manner  is  generally  considered  to 
be  an  Americanism  (Southern)  but  this  usage,  like  the  American  "I  guess," 
is  good  Middle  English. 

I.  192.  all  and  some  =  the  long  and  short  of  it  (Skeat).  This  is  one  of 
the  most  common  phrases  in  L.  M.  E.     Cf.  Chaucer,  J^r.  Tale,  1.  878  : 

"  This  al  and  som,  there  is  no  more  to  seyn ; " 
Pari.  ofF.,  1.  650: 

"This  al  and  som,  that  I  wolde  speke  and  seye,"  etc.,  etc. 
Rom.  of  the  Rose,  1.  740: 

"  So  faire  they  weren  alle  and  some  ;  " 
Gower,  Conf.  Am.,  II,  p.  379  : 

"There  ben  the  lordes  all  and  some;" 
Lydgate,  Temp,  of  Glas,  1.  1037  : 

"This  is  al  and  some,  the  fine  of  my  request,"  etc. 
Cf.  Spenser,  Faerie  Queeti,  III,  xii,  30. 

I  remember  to  have  seen  the  phrase  used  by  Swinburne.  Browning  has  in 
Ring  and  Book : 

"  So  do  I  see,  pronounce  on  all  and  some." 

1.202.  by  and  by  ^=  or\Q  after  the  other,  separately.  See  1.  302.  Chaucer 
has  in  Rv.  Tale,  1.  223  : 

"Right  in  the  same  chambre,  by  and  by;" 
Rom.  of  the  Rose,  1.  4581  : 

"These  were  his  wordis  by  and  by." 

1.217.     grogyng.     The  most  common  word  of  its  class  in  Lydgate's  vocab- 
ulary, commonly  spelled  grucchyng. 
Min.  P.  p.  67  : 

"  Nat  grucchyng,  but  mery  like  thi  degre  ;  " 
idem,  p.  83  : 

"List  thank  God  vo3'de  al  grucchyng;" 
ALsop,  Fab.  2,  1.  161  : 

"Nor  grucche  in  pouerte." 
Often  in  Temp,  of  Glas  (see  11.  187,  424,  853,  879,  1266)  and  Secrees  (11.    I13, 
775,  778,  780). 
Piers  the  Plow.,  Pr.,  1.  153  : 

"  And  gif  we  grucche  of  his  gamen." 
In  Chaucer's    Pers.  Tale  grucching  is  declared  a  species  of  Envy. 
Cf.  Mary  Wilkin's  Pembroke,  Ch.  12  : 

"  1  don't  begrutch  it  to  her." 

8,  1.  232.     dyscrese.     From  L.L.  discrescere.     Gower  has  discreseth  {Conf,  Am. 

II,  p.  189). 

1.  233.  /  dar  vndyrtake.  A  common  formula ;  Chaucer  has  it  in  the  Ml,  Tale, 
1.  355.     Cf.  Prol.  1.  288  : 

"And  he  nas  nat  right  fat,  I  undertake." 

1.  243.     Neptune's  mastresse.     Cf.  Chaucer,  Fr.  Tale,  11.  319-20  : 
"  Though  Neptunus  have  deite  in  the  see. 
Yet  emperesse  aboven  him  is  she  (Lucina)." 


68  Notes. 

1.  249.  Othea.  I  have  retained  the  spelling  in  the  text,  though  I  am  confi- 
dent that  Athena  is  the  right  reading. 

1.  252.  marchall.  It  was  the  office  of  the  marshal  of  a  feast  to  set  the  guests 
in  order  of  rank. 

P.  9,  1.  253.  The  Gods.  The  delineation  of  the  pagan  deities  in  the  manner  of 
pictorial  art  is  perhaps  the  best  thing  done  in  the  poem.  For  models  of 
these  images  he  had,  perchance,  the  work  of  Albricus  Philosophus,  entitled 
De  Deorum  Imaginibus,  containing  sketches  of  the  heathen  gods  (Van  Stav- 
ernes  Auctores  Mythog.  Lat.);  also,  of  course,  the  work  of  Fulgentius 
(Introd.  p.  xl) ;  or  for  that  he  would  not  need  to  go  much  farther  than  Gower's 
Conf.  Amatt.  Bk.  IV.  In  1.  294  he  refers  to  "  olde  poetys  "  for  his  authority. 
There  is  a  minor  assembly  of  gods  in  Lydgate's  yEsop  where  judgment  is 
given  concerning  the  marriage  of  Phebus.  See  also  The  Assembly  in 
Dunbar's  Golden  Targe. 

1.  256.  presse.  The  MS.  preef  is  changed  to  presse  because  of  the  riming 
word  messe. 

1.  258.     be  spreynt.     Cf.  Chaucer,  ContpL,  1.  10: 

"  To  Pite  ran  1,  al  bespreynt  with  teres ;  " 
"  dew-besprent  "  occurs  in  Comus,  1.  541.  Browne  notes  that  besprent  is  Spen- 
serian. 

1.  260.  Pilars  7nyglily  god  and  strong.  A  translation  of  the  more  common 
epithet  of  Mars,  "  armypotent  " — borrowed  from  N'irgil  {.'■En.  IX,  717).  Cf. 
Boccaccio,  Ttseide,  VII.  32. 

I.  262.     yron  and  the  other  metals.     The  association  of  the  different  metals 
with  the  planets  is  attributed  to  Geber  (see  Thomson,  Hisf.  of  Chem.,  I,  117). 
The  temple  of  Mars  built  by  Theseus  [Knight's  Tale)  was   all  of  steel.       In 
Chaucer's  Ho.  of  Fame  (II.1446-8)  it  is  said  that  "  Vren  Martes  metal  is  :  " 
"  And  the  leed,  withouten  faile, 
Is,  lo,  the  metal  of  Saturne." 
The  Chanouns  Yeman  explains   the  seven  "  bodies"  [C/i.  V.  Tale,  11.  273-6): 
"  Sol  gold  is,  and  Luna  silver  we  threpe  ; 
Mars  yren,  Mercuric  quicksilver  we  clepe  ; 
Saturnus  leed,  and  lubiter  is  tin, 
And  Venus  co])er,  by  my  fader  kin." 
Gower  gives  the  complete  list  in  Conf.  Am.,  Bk.  4,  II,  p.  84  : 
"  The  gold  is  titled  to  the  Sonne  ; 
The  mone  of  silver  hath  his  part ; 
And  iron,  that  stond  upon  Mart ; 
The  leed  after  Satorne  groweth  ; 
And  lupiter  the  brass  bestoweth  ; 
The  copper  set  is  to  Venus, 
And  to  his  part  Mercurius 
Hath  the  quick-silver." 
Note  the  description   by  Hawes  of  the  monster  of  the  seven  metals  whose 
head  and  face  were  golcl,  the  neck  silver,  the  breast  and  heart  steel,  the  fore- 
legs  brass,  the   back   copper,  the    hindlegs   tin,  the  tail  lead  (Past,  of  Fleas. 
p.  192). 

1.  266.     pondryd.     A  term  in  heraldry  for  sprinkled. 

1.  267.  take  the  mantell  and  the  ryng.  This  saving  refers  to  the  assumption 
by  a  widow  of  a  ring  and  a  "  widow's  mantel,"  probably  of  black  silk,  as 
evidence  of  a  vow  of  perpetual  widowhood.     See   l.vdgate,  Z)a«<rf  of  Mac: 

"Chastelv  recevved  the  mantel  and  the  rvnge  ; " 
Min.  P.,  p.  34  : 

"She  wol  perhappous  maken  hir  avowe 
That  she  wol  take  the  mantle  and  the  ryng." 


Notes.  69 

P.  9,  1.  269.  demenyng.     Cf.  the  Secrees,  I.  1082  : 

"Sad  of  his  cheer,  in  his  demenyng  stable;" 
Tevip.  of  Glas,  1.  750  : 

"  Hir  sad  demening." 

1.  270.     Words  like  sad,  wise  and  end  are  dissyllabic  in  Chaucer,  sad  |  de, 
wys  I  e,  end  |  e. 

1.  272.  philosophres :  cofres.     A  stock  rime  from  Chaucer;  cf.  Cant.  Tales  Pr. 
1.  297-8  : 

"And  albe  that  he  was  a  philosophre 
Yet  hadde  he  but  litel  gold  in  cofre  ;  " 
see  also  Man  of  L.  Tale,  11.  25-6 ;  Fr.  Tale,  11.  843-4  ;  Ch.  V.  Tale,  11. 
283-4;  Dr. of  Ph.  Tale,  Pr.  1.  5-6;  Leg.  of  G.  IV.,  Pr.  11.  380-I  ;  Gower  uses 
it  In  Conf.  Am.,  II.,  p.  197  and  III.,  p.  163;  Lydgate  employs  it  again  in 
ALsop,  11.  1-3,  in  Secrees,  11.  34-5,  435-7,  540-2.  Chaucer  rimes  philosophre 
again  with  profre  {Sec.  N.Tale,  11.  489-90  ;   Ch.  Y.  Tale,  11.  III-12). 

].  275.  rychely  beseene.     Cf.  Skelton.  Carl,  of  Laur.,  11.  482-3  : 
"Wherein  was  set  of  Fame  the  noble  Quene, 
All  other  transcendynge,  most  rychely  besene  ;  " 
Temp,  of  Glas,  1.  1167  : 

"Ai  fressh  and  welbesein." 

1.  280.  morne:  Sattirne.     Cf.  Temp,  of  Glas,  11.  480-I,  moiirne:  tiirne,  858-9, 
nioiirne:  refourme. 

P.  10,  1.  296.//'Vi-5//(?=gorgeous,  gay.     Cf.  Skelton,  Garl.  of  Lau.,  1.  39: 

"  Garnysshed  fresshe  after  my  fantasy." 
1.  306.  purpur.     The  M.  E.  spelling.     Cf.  Chaucer,  Leg.  of  G.  W.,  I.,  1.  75 : 

"  With  al  her  purpre  sayle." 
i.  2,0%.  perles  oryent.     Cf.  Chaucer,  Leg.  of  G.  W.,  Pr.,  1.  221  : 

"  For  of  00  perle,  fyne,  oriental ;  " 
see  the  Flow,  afid  Leaf  line  148  : 

"  As  greate  pearles,  round  and  oriente  ;  " 
Skelton,  Garl.  of  Lau..  1.  4S5  : 

"Fret  all  with  orient  perlys  of  garnete ; " 
Lydgate's  ^Esop.,  1.  26  : 

"Perils  white,  cliere,  and  oriental;" 
John  Day's  Works  (ed.   Bullen,  p.  37):     "And  as  jewels,  so  the  stones  be 
orient,  artfully  cut  and  ordgrlie  sett." 

1.  314.  sulphure.     Cf.  Chaucer,  LLo.  of  Fatne,  11.  1507-II  : 
"And  next  him  on  a  piler  stood, 
Of  sulfre  .... 
Dan  Claudian   .... 
That  bar  up  al  the  fame  of  helle, 
Of  Pluto,  and  of  Proserpyne." 

I.  316.  Fortune  the  goddesse.  This  is  that  Fortune  that  was  known  to  the 
Middle  Ages.  Boethius  gave  her  form  and  figure  in  the  second  book  of 
De  Cons.  Phil.  Dante  places  her  in  the  Fourth  Circle  of  Hell  (c.  vii),  say- 
ing that  for  the  splendors  of  the  world  there  was  ordained  a  general  mistress 
and  guide  who  should  ever  and  anon  transfer  the  vain  goods  from  race  to 
race,  and  from  one  blood  to  another  beyond  the  resistance  of  human  vyit 
(Norton).  This  is  the  import  of  Cavalcante's  fine  Song  of  Fortune,  begin- 
ning, 

"  Lo  !  I  am  she  who  makes  the  wheel  to  turn ; 
Lo  !   I  am  she  who  gives  and  takes  away." 
She  is  shewn  in  full  form  with  her  wheel  in   the  Roman  de  la  Rose  (2d    part, 

II.  4863-8492).  The  English  Romaunt  speaks  of  "The  froward  Fortune 
and  contraire"  (1.  5414).  Chaucer  describes  her  as  going  upright  and  yet 
halting,  as  looking  fair  and  yet  foul  {Bk.  of  the  Duch.,  11.  642-5): 


•JO  Notes. 

'She  is  th'  envyous  charite 

That  is  av  fals,  and  semeth  wele 

So  turneth  she  her  false  whele 

Aboute,  for  it  is  no-thing  stable." 
Lydgate  savs  in  the  Min.  P.,  p.  122: 

"  Fortune  shewithe  ay,  by  chaungyng  hir  see, 
How  this  world  is  a  thurghefare  ful  of  woo." 
For  a  later  description  of  Fortune  and  her  wheel  see  King  James'  Quair, 
St.  158-172.  Fluellen  said  to  Pistol  {K.  Hen.  V.,  Act  III.,  Sc.  6):  "P'or- 
tune  is  painted  blind  with  a  muffler  afore  her  eyes,  to  signify  to  you  that 
Fortune  is  blind  ;  and  she  is  painted  also  with  a  wheel,  to  signify  to  vou, 
which  is  the  moral  of  it,  that  she  is  turning  and  inconstant,  and  mutability, 
and  variation;  and  her  foot,  look  you,  is  fixed  upon  a  spherical  stone,  which 
rolls  and  rolls."  Note  the  painting  of  Fortune  and  her  wheel  by  E.  Burne- 
Jones.  The  medigeval  P'ortune  was  pictured  by  Raphael  on  the  walls  of  the 
Vatican. 

1.  316.  party  face.     Cf.  Coitrt  of  Love,  11.  1 191-2  : 

"Dissemble  stode  not  ferre  from  hym  in  trouth, 
With  party  mantill,  party  hode  and  hose." 
The  Temp,  of  Glas,  1.  II55>  '^^s  the  formula  "in  parti  or  in  al." 

1.  320.  gawdy  grene  chamclet.     Chamelet  was  a  cloth  made  of  camel's  hair 
and  silk.     Cf.  Chaucer,  A'iiif;/i/s  Tale,  1.  122 1  : 

"In  gaude  greene  hir  statue  clothed  was  (Diana)." 

1.  2)22.  s ho u res.     Figuratively  =  distribution,  bestowment.     See  another  usage 
in  1.  732  =  assault  of  battle. 

P.  II,  1.  325.  russet.  Russet  was  a  name  given  to  a  coarse  woolen  cloth,  reddish 
brown  in  color  and  commonly  worn  by  shepherds ;  "clad  in  russet"  was 
proverbial  for  homeliness.  See  Skeat's  note  in  Piers  Plow.,  p.  208.  The 
color  is  taken  from  the  cloth.     Cf.  Shaks.  hamlet.  Act  I.,  i.  166  : 

"The  morn  in  russet  mantle  clad." 
Prese'=irieze,  a  coarse  woolen  cloth. 

1.  326.  tar  box.     Every  shepherd   carried  a  box  containing  tar,  which  was 
used  to  annoint  the  sores  in  sheep.     Cf.  Chest.  PL,  p.  120 : 
"Heare  is  tarre  in  a  potte 
To  heale  from  the  rotte." 
Skeat  cites  a  carol  in  a  Balliol  MS.,  354  (4iotes  to  Piers  Plow.,  p.  195): 
"The  sheperd  upon  a  hille  he  satt, 
he  had  on  hym  his  tabard  and  his  hat, 
hys  tarbox,  hys  pype,  and  hys  flagat." 
See  Percy's  Rcliq.,  II.,  p.  256  : 

"And  least  his  tarbox  should  offend,  he  left  it  at  the  folde." 

1.  329.  the  tnurre^=2i  cold  with  hoarseness.     Cf.  Skelton,  Magnyf.,  1.  2287: 
"And  I  gyve  hym  the  cowghe,  the  murre,  and  the  pose"  (pose  =  rheum 
in  the  head). 

1.  330.  Isys  the  goddesse.     Lydgate,  in  his  Fall  of  Princes,  describes  again  a 
number  of  the  Divinities.     Of  Isis  he  says: 

"She  was  right  wise  above  other  creatures. 

Secrete  of  cunnynge,  wele  experte  in  science, 

She  taught  first  letters  and  figures 

To  I'-gipciens  by  pleyn  experience, 

Yave  theym  cunnynge  and  intelligence 

To  till  the  londe,  taught  the  labourerys 

To  sowe  their  greyne  and  multiplie  by  yeres." 

1.  340.  in  hys  gyrdyll stede='\n  place  of  his  girdle.     But  cf.  Stubbes'  Anai, 
of  Abuses  where  gyrdlestead,  used  as  a  noun,  signifies  waist  (1.,  p.  60). 


Notes. 


71 


1.  343.  dysgysyd^^AtciktA  out  in  strange  guise.  Cf.  Lang.,  Piers  Plow.,  Pr., 
1.24: 

"And  some  putten  liem  to  pruyde  ....  comen  disgised.^'' 
Cf.  Sec7'ees,  1.  1 170  : 

"As  the  Sonne  sliewith  in  liis  gu\'se." 

1.  344.  Mynerue.  Minerva  as  Pallas  appears  in  Lydgate's  Temp,  of  Glas, 
"with  her  crista!  sheld"  (see  Schick's  notes,  p.  87). 

1.  350.  that  other  ye  wote  where,  i.  e.,  on  her  breast. 

\.  ^i,(i.  kendall.  Probably  the  "  Kendal  Green,"  formerly  manufactured  by 
the  Flemish  weavers  who  had  established  themselves  in  Kendall  in  the  14th 
century. 

12,  1.  361.  iiieyfit^']o\ntd,  p.p.  of  mingen.     Cf.  Tetnp.  of  Glas,  1.  276: 
"That  Rose  and  lileis  togedir  were  so  meint ;  " 
Spenser,  F.  Q.  III.  xi.  36  : 

"When  she  with  Mars  was  meynt  in  joyfulnesse." 

I.  362.  ne  wer  she.     A  common  M.  E.  idiom.     Cf.  Piers  Plow.,  Pr.,  1.  199  : 

"Nere  (ne  were)  that  cat  of  that  courte  that  can  yow  ouerlepe  ;" 
idem,  Pas  iii.,  1.  134  : 

"Shireues  of  shires  were  shent  gif  she  nere;  " 
idem,  Pr.,  1.  82  : 

"Gif  thei  nere;" 
Chaucer,  Man  of  L.  Tale,  I.  34  : 

"Nere  (ne  were)  that  a  marchaunt,  goon  is  many  a  yere  ; " 
Lydgate  in  Dannce  of  Pottles: 

"Also  ne  were  it  mvn  entent." 
See  Glossary  of  Chaucer's  Works  under  "nere." 

].  365.  Mercurius.     Mercury,  as  god  of  eloquence,  appears  in  Tetnp.  of  Glas, 

II.  130-32,  and  in  Hawes'  Past,  of  Pleas.,  p.  34.  Lydgate  speaks  of  him  in 
Falls  of  Princes  as  "  Right  fresshe,  ryght  lusty  and  full  of  hardyness."  See 
Schick's  notes,  pp.  80-1.     Cf.  Secrees,  i.  1207: 

"In  Rethoryk  helpith  Mercuryvs." 
I.  365.  see^=se&\..     Cf.  O.  F.  se;   used  in  the  sense  of  seat  or  throne  in 
Faery  Queene,  iv.,  10,  30. 

1.  368. /i7«jY/=  surpassed,  excelled.     Cf.  Flo-w.  and  Leaf,  I.  168  : 
"That  of  beautie  she  past  hem  everichone." 

1.  371.  mnltyplyers.  For  the  "cursed  craft"  of  multiplying,  its  materials 
and  processes,  see  the  Prolog  to  the  Chanouns  Yeman's  Tale  and  Gower's 
Conf.  Am.,  II.,  p.  84.  The  "spirits"  employed  were  quicksilver,  armoniac, 
sulphur  and  arsenic.  The  multipliers,  along  with  coin  washers  and  clippers, 
are  classed  among  the  vices  (1.  681). 

1.  373.  ivhoos  long  here  shone  as  wyre  of  goold  bryght,  i.  e.,  as  the  fine  glitter- 
ing threads  of  goldsmiths'  work.  A  favorite  and  tell-tale  simile  of  Lyd- 
gate's. See  Schick,  Temp,  of  Glas,  notes,  p.  88-90 ;  Kolbing,  Sir  B.  of 
Hamtoun,  notes,  pp.  244-5 ;  also  the  introduction  to  this  text,  p.  Ivi. 

1.  374.  cryspe  =  iresh  or  firm.  Most  often  crisp  meant  curled,  as  when 
describing  hair  (cf.  Chaucer,  Knights  Tale,  1.  1307)  or  rippled,  as  Milton's 
"crisped  shades"  {Camus,  1.  984).  Leigh  Hunt  has  the  present  use  in  "It 
(laurel)  has  been  plucked  nine  months,  and  yet  looks  as  hale  and  crisp  as  if 
it  would  last  ninety  years."  Cf.  Browning,  Ring  and  Book: 
"  The  first  crisp  youth  that  tempts  a  jaded  taste." 

1.   374.  columbyne  =  €i'Catx  dove-like  or  in   color  like  the    columbine.     In 
Lydgate's  Pur  le  Roy  (Min.  P.,  p.  8)  the  word  is  used  in  the  first  sense  : 
"  Most  columbyne  of  chere  and  of  lokyng." 


7  2  Notes. 

Chaucer  (in  March.  Tale,  1.  897)  has, 

"  Come  forth  now  with  thin  eyghen  columbine." 
Venus  is  always,    of   course,    associated    with  doves    and    roses.      Cf.   the 
Knights  Tale,  11.  1 1 02-4  : 

"And  on  her  heed,  ful  semely  for  to  see, 
A  rose  garland  ful  swete  and  wel  smellyng. 
And  aboven  hire  heed  dowves  flikervng.'' 
Cf.   any  mediaeval  or  modern  painting  of  Venus  when   represented   as  the 
"  patronesse  of  plesaunce." 

1.  383.  5-/(3^^=  made  glad.  For  this  transitive  use  of  glad  cf.  Chaucer, 
Bk.  of  the  Duck,  \.  702  : 

"May  gladde  me  of  my  distresse  ;  " 
Ho.  of  Fame,  1.  962  : 

"And  gladded  me  ay  more  and  more  ;  " 
Piers  PlotLK,  Pas.  vi.,  1.  12 1  : 

"Shal  no  grevne  that  groweth  glade  yow  at  nede  ; " 
Temp,  of  Glas,  1.  1 2 1 1  ': 

"  Hertes  to  glade  itroubled  with  derkness  ;" 
Browning,  Ring  and  Book,  p.  57  = 

"What  else  shall  glad  our  gaze." 
Cf.  Wyclif  Magnificat:     "My  spiryt  hath  gladed  in  God  myn  helthe." 
Lydgate  also  uses,  1.  532,  "reioyse"  (  =  make  glad)  which  came  to  take  the 
place  of  glad  in  this  sense. 

1.  389.  phylosophyrs  and  poetes.  Lydgate  follows  Dante  in  placing  the 
pagan  philosophers  and  poets  in  Hell.  See  hiferno,  c.  iv.  Dante  men- 
tions among  the  ancient  teachers  Socrates,  Plato,  Democritus,  Diogenes, 
Anaxagoras,  Thales,  Empedocles,  Ileraciilus,  Zeno,  Dioscorides,  Orpheus, 
Tully,  Linus,  Seneca,  Euclid,  Ptolemv,  Hippocrates,  Avicenna,  Galen,  and 
Averrhoes,  and  of  course,  Virgil,  Homer,  Ilorace,  Ovid  and  Lucan.  These 
were  in  the  First  Circle,  which  contained  the  spirits  of  those  who  lived  vir- 
tuously but  without  Christianity.  This  is  such  a  list  as  Hawes  gives  of 
those  who  have  achieved  fame,  and  also  Douglas  of  those  who  inhabit  the 
Palace  of  Honor. 

P«  I3>  '•  397-  Orace,  Ouyde  and  Omere.  This  is  the  common  spelling  of  these 
names.  Cf.  Chaucer,  Ho.  of  Fame  \\.  1466,  1477,  1487.  Omerus  is  found 
in  Secrees\.  378,  etc.     Euclyte  occurs  in  Min.  P.  p.  88. 

1.  400.  Orpheus.  He  is  mentioned  also  in  Temp,  of  Glas  (1.  1308),  playing 
upon  a  harp. 

1.  402.  carpe.  Commonly  meaning  to  talk,  the  term  is  sometimes  found 
applied  to  music,  as  here.  Often  in  Lydgate  in  the  sense  of  talk.  Cf. 
Chorl  and  Bird,  Min.  P.,  p.  19 1  : 

"  It  ware  but  foly  withe  the  more  to  carpe  "; 
Secrees,  1.  708 : 

"To  whoos  counsayl  in  Arrabye  folk  carpe,"  etc. 
See  carpyng,  1.  439. 

1.  404.  to  lawe.  Cf.  Chaucer,  Cant.  Tales,  Pr.  1.  474,  "  lawghe  ; "  Piers  Plow., 
iv,  1.    153,  "lawghyng  ;"  and  .decrees,  1.  2535  : 

"  Man  which  lawheth  with  wyl  and  herte." 

1.  408.  foyson.     Cf.  Chaucer,  Ml.  Tale,  Pr.,  1.  57  : 

"So  that  he  fvnde  Goddes  foyson  there  "  ; 
Lydgate,  Chorl  and  Bird,  Min.  P.,  p.  184  : 

"  And  of  alle  devntes  plente  and  foisoun  ;  " 
Secrees,  1.  1644  : 

"Or  drynk  old  wyn  in  greet  foysoun." 
It  is  used  in  The  Tempest,  H.  i. 


Notes.  7  3 

1.  413.  the  festof  Peleus.  The  story  is  that  Discord  (Eris),  being  excluded  from 
the  feast  of  Peleus  and  Thetis,  threw  among  the  company  a  golden  apple 
inscribed  "To  the  fairest."  Then  arose  the  dispute  between  Here,  Aphro- 
dite and  Athena,  wherein  Paris  was  involved  as  judge  of  the  fairest.  The 
prize  fell  to  Aphrodite,  who  gave  to  Paris  Helen,  whence  rose  the  Trojan 
war.  This  was  one  of  the  most  famous  of  the  mediaeval  tales  of  romance. 
The  strife  of  the  goddesses  is  recorded  in  Gower's  Conf.  Am.  Bk.  V.  The 
story  is  referred  to  in  Temp,  of  Glas,  11.  461-67.  Robert  of  Bruune  gives  a 
full  account  of  the  rape  of  Helen  and  the  causes  thereto  in  his  Chroi.  11. 
459  f/  seq. 

1.  425.  what  in  the  denylh  date.  The  meaning  of  this  exclamation  is  indicated 
by  a  passage  in  Skelton's  Speke,  Parrot,  11.  437-38  : 

"  Ryn  God,  rynne  Devyll  !  vet  the  date  of  ower  Lord 
And  the  date  of  the  Devyll  dothe  shrewlye  accord." 
The  Marriage  charter  of  Lady  Mede  in  Piers  Plow.  (Pass,  ii)  is  sealed    "in 
the  date  of  the  devil,"  as  other  documents  are  written   in  the   date   of  the 
Lord.     Cf  Skelton,  Bozvge  of  Court,  11.  375  and  455  : 

"  Lete  thevm  go,  lowse  ihevm,  in  the  deuvHes  date  "  ; 
Magnificence  11.  2198  and  954  : 

"What  neded  that,  in  the  dyuyls  date  !  " 

1.  426.  hozve  the  game  gooth.     Cf.  Rom.  of  the  Rose,  1.  5030  : 
"  But  how  that  evere  the  game  go." 

P.  14,  1.  441.  7V00  begoon.     The  opposite  phrase  is  "well  begon  "    as  in  Roman  of 
the  Rose,  1.  693. 

I.  447.  my  dart.  In  mediaeval  imagery  Death  is  most  often  represented  as  a 
skeleton  figure  hurling  against  all  men  a  spear  or  a  dart.  Cf.  Mirrour  of 
the  Per.  of  Alans  Life: 

"  Now  schaketh  he  his  spere  to  smite  me  "  ; 
Court  of  Love,  1.  294  : 

"Though  Deth  therefore  me  thirlith  with  his  spere  "  ; 
Occleve,  De  Reg.  Prin.  (ed.  Wright,  p.  76)  : 

"  Death  might  have  stayed  his  dart  for  a  time." 
See  text  1.  1935. 

The  identification  of  Atropos  (here  a  male  figure)  with  Death  is  one  of  the 
curious  features  of  the  poem.     Cf    Temp,  of  G las,  1.  782-3: 
"  Right  so  shall  I,  til  Antropos  me  sleithe 
For  wele  or  wo,  hir  faithful  man  be  found." 
Atropos  is  one  of  the  fates  in  Story  of  Thebes,   fol.  374. 
Cf.  Bullein,  .i  Dialogue  against  the  Fev.  Pest.  (E.  E.  T,  p.  II4)  : 
"Me  thinke  I  doe  see  the  fearful  horseman  lighted  in  the  valley  with  a  mar- 
velous fearful  saying,  £tt  adsum  vobis  viors  vltima  linia  rerum,  etc.     Oh, 
where  shall  we    hide  vs  from  him?     He   casteth  forthe  his  HI  dartes,  and 
taketh  them  vp  again it  is  merciless  Death  most  fearful,"  etc. 

II.  449  ef.  seq.  Death's  patent.  It  was  one  of  the  favorite  subjects  of  contem- 
plation how  death  brought  every  man  to  an  end,  however  exalted  his  estate. 
It  was  customary  to  refer  to  the  " Nine  Worthies" '  by  way  of  illustration; 
these  were  Joshua,  Gideon,  Samson,  David,  Judas  Maccabaeus,  Alexander, 
Julius  Caesar,  Charles  the  Great,  and  Godfrey  of  Boulogne.  When  it  was 
desirous  to  prove  that  the  world  was  false  and  vain,  the  question  would  be 
asked.  Where  now  is    Solomon,  Samson,  Absalom,  Jonathan,  C?esar,  Dives, 

1  The  Nine  Worthies  furnished  stock  illustrations  to  a  late  date.  They  are  constantly  referred 
to  by  the  dramatists  as  by  Beaumont  and  Fletcher  in  Thierry  and  Theodoret  f  Dyceed.  I,  p. 
x^-3,).  Laws  of  Candy  (V,  p.  331),  The  Double  Marriage  (VI,  p.  387),  The  Prophetess 
(VIII,  p.  266).  They  appear  on  the  stage  in  character  in  ftliddleton's  The  ll'ortd  Lost  at 
Tennis  (Bullen  ed.  VII,  p.  165),  where  fhey  are  described  by  Pallas  as  they  dance  in  the 
masque.  They  were  favorite  subjects  for  tapestry  (Weber)  as  appears  in  Beau,  and  Fl. 
Doub.  .Mar.  (Dyce  ed.  VI,  p.  387)  : 

"  Thou  woven  Worthy  in  a  piece  of  arras. 
Fit  only  to  enjoy  a  wall." 


7  4  Notes. 

Tully,  or  Aristotle  (see  I/ymns  to  the  Virgin,  E.  E.  T.,  p.  86 — c.  1400). 
Chaucer's  list  of  those  who  have  been  brought  low  is  given  in  the  Monk's 
Tale;  they  are  Lucifer,  Adam,  Sampson,  Ercules,  Nabugodonosore, Balthazar, 
Zenobia,  Petro  (of  Spayne),  Petro  (of  Cipres),  Barnabo,  Hugilin,  Nero,  Oli- 
phern,  Antiochius,  Alisaunder,  Julius  Cesar  and  Cresus.  Hawes  enumerates 
these  whom  Eame  holds  in  remembrance:  Hector,  Josue,  Judas  Machabeus, 
Davyd,  Alexander,  Julius  Sesar,  Arthur,  Charles  and  Godfrey  (/'(/.f/.  of  Pleas.) 
To  illustrate  the  theme  that  all  stand  in  change  like  a  midsummer  rose, 
Lydgate  cites  elsewhere  David,  Salamon,  Jonathas,  Julius,  Pirrus  of  Vnd, 
Alexander,  Nabigodonosor,  Sadociopall,  Tullius,  Crisostomus,  Omerus,  Senec, 
and  many  knights  (Min.  P.,  p.  22;  see  also  p.  122).  Cf.  the  tone  of  the 
Roxbury  Ballad  Fareivell  to  the  World: 
"for  worldlie  pleasure  is  but  vanitie; 

None  can  redeeme  this  life  from  death,  I  see ; 

Nor  Cresus'  wealth,  nor  Alexander's  fame. 

Nor  .Sanii)son's  strength,  that  could  Death's  fury  tame."  Rox.  B.  II,  p.  25. 
In  that  most  doleful  of  poems  Wiggleworth's  Vanity  of  Vanities  the  motive 
is  repeated  in  a  new  land  : 

"If  Beauty  could  the  Beautiful  defend 
From  Death's  dominion,  then  fair  Absalom 
Had  not  been  brought  to  such  a  shameful  end  ; 
But  fair  and  foul  unto  the  Grave  must  come. 

If  Wealth  or  Scepters  couUl  Immortal  make, 
Then  wealthy  Croesus,  wherefore  art  thou  dead  ? 
If  Warlike-force  which  makes  the  World  to  quake. 
Then  why  is  Julius  Caesar  perished  ? 

Where  are  the  Scipio's  Thunderbolts  of  War  ? 

Renowned  Pompey,  Caesar's  Enemy  ? 

Stout  Hannibal,  Rome's  Terror  known  so  far? 

Great  Alexander,  what's  become  of  thee  ? 

— Libr.  Amer.  Lit.  II,  p.  17. 
See  also  Lydgate's  Dance  of  Macaivbre  and  Story  of  Thebes,  fol.  387  ;  Barc- 
lay's Ship  of  Fools,  I,  p.  264  ;  Love's  Labor's  Lost,  VI,  130 ;  V,  Sc.  I.  1.  130  ; 
Southwell's  Image  of  Death,  etc.      Petrarch's  Triumph  of  Death  may  also  be 
compared. 

P.  15,  1.  470-  Nabtigodonozbr.  This  is  the  pronunciation  in  Chaucer.  The  spell- 
ing Nabuchodonosor  occurs  in  the  Vulgate  (Dan.  I.,  iv) ;  this  is  the  usage  of 
Gower  (v.  Conf.  Am.  Bk.  I,  near  end),  and  Chaucer  {Monk's  Tale,  1.  155  ; 
Ho.  of  F.   1.  515),  and   Langland   {Piers  Plow.  Pas.  vii,  1.  153). 

1.  471,  Pharao  is  the  spelling  of  the  Vulgate ;  Chaucer  has   Pharo  {Ho.  of  F. 
1.  516)  but  Pharao  in  Bk.  of  the  Duck.  1.  282. 

1.  490.  aldyrs.     The  final  s  must  be  a  scribal  error;  but  cf.  11.  579,  599. 

1.  492.     Cf.  Chaucer,  Knights  Tale,  11.  445-8  : 

"()  cruel  goddes,  that  governe 
This  world  with  byndyng  of  voure  word  eterne 
And  wryten  in  the  table  of  alhamaunt 
Your  parlement  and  your  eterne  graunt." 

1.  493.  pesecoddys.     This  is  the  form  employed  bv  Lydgate  in  Min.  P.  p.  105, 
Secrees  1.  1374,  and  by    Langland  in   Piers  Phnc.   Pas.  vi,  1.  294,  xiii   (C), 
1.  221,  and  by  Skelton  IVhy  come,  etc.,  1.  108.     The  Secrees  has 
"  Benys  rype  and  pesecoddys  grene." 

P.  16,  1.  499.    i';;-(7j7/t'= started  up.     Cf.  yEsop,  Fab.  2.  1.  90  : 
"Til  sodainly  al  abrayde"; 
Temp  of  Glas,  1.  1054  : 

"Til  at  the  last  of  routhe  she  did  abraide  "; 


Notes.  7  5 

Secrees,  1.  308  : 

"Till  I  abrayde  in  purpoos  to  resorte." 
See  "braid,"  N.  E.  Diet. 

1.  501.  boody,  blood  and  boonys.  "  Blood  and  bone  "  is  a  common  formula  in 
the  Metrical  Romances. 

1.  503.  malapert.     Cf.  Lydgate.  Min.  P.,  p.  23  : 

"Clatering  pyes  .... 
Most  malapert  there  verdit  to  purpose  "  ; 
idem  p.  166  : 

"  Maleapert  of  chiere  and  of  visage  "  (said  of  a  jay). 

1.  513.  leyte.  The  other  texts  read  "  leytenynge  " — which  is,  of  course,  meant. 

1.  530.  hyt  fell  on  a  day.  Lydgate  has  this  formula  in  Min.  P.,  p.  74  :  "  It  fil 
on  a  tyme." 

1.  530.  wedyr.  Weddiris  still  the  folk  pronunciation  in  portions  of  Scotland. 
Cf.  Barbour's  ^mr^  III.,  1.  387: 

"  Till  wyntir  weddir  war  away." 

P.  17,  1.  534.  dresse^=d\reci.  See  1.  1512  :  "  Myn  ey  gan  I  dresse."  Cf.  Chaucer, 
Ml.  Tale,  1.  282  : 

"  And  to  the  chambre  dore  he  gan  him  dresse  ;" 
Gentl.,  1.  3  : 

"  Must  folowe  his  trace  and  alle  his  wittes  dresse." 

1.  550.  ray.  Ray  means  properly  a  ray,  streak,  stripe  ;  but  was  commonly 
used  to  designate  a  striped  cloth  (Skeat).  See  Lyd.,  Lond.  Lackpetiny, 
"a  long  gown  of  raye.'''  The  plural  is  found  in  P.  PI.  Pas.  v,  1.  211, 
"Among  the  riche  rayes."  Barclay  (^Ship  of  Fools,  I,  p.  35)  refers  to  honest 
ray=striped  cloth.  See  Mem.  of  Lond.  ed.  Riley.  I.  p.  109  for  definition^ 
"one  piece  of  striped  cloth."  Cf.  Peele,  Edtvard I.,  Sc.  6,  1.  22  : 
"My  milk-white  steed  treading  on  cloth  of  ray." 

1.  561.     Cf.  Chaucer,  Man  of  L.  Talc  1.  483: 
"  But  tourne  ayein  I  wil  to  my  mateere ;  " 
Lydgate  Min.  P.  p.  140 : 

"  But  to  resorte  ageyn  to  my  mateere." 

1.  562.  And  to  I  begyn  |  ne  new  |  e  where  |  I  left.  Few  lines  run  as 
smoothly  as  this.    The  final  e  comes  naturally  into  use. 

1.563.  liesy  peyn.  The  phrases  "  besy  peyn  "  and  "  besy  cure  "  are  very 
common  in  Lydgate  and  Chaucer.  See  Lydgate's  Min.  P.,  p.  87  ;  ^sop. 
Fab.  2,  I.  55,  Fab.  6,  1.  136;  Secrees,  1.  738,  1012;  Chaucer,  Pari,  of  F.  1. 
369;  Compl.  1.  2,  119,  etc.  This  text  has  it  again  in  1.  746.  Spenser  uses 
the  phrase  as  in  Faerie  Qneene  V.  xii.  26. 

P.  18,  1.  597-  nat  worth  a  pcere.  The  writers  of  the  period  had  a  variety  of  ex- 
pressions signifying  worthlessness.  See  1.  493,  not  give  2  pesecoddes; 
1.  560,  rekke  nat  a  strawe  ;  1.  1607,  then  a  myte.  Cf.  JMort.  d' Art.  XV.,  cap. 
vi  (ed.  Southey,  II.  p.  254)  : 

"  Vayne  glory  of  the  world,  the  whiche  is  not  worth  a  pere." 
Chaucer  has  "Not  worth  a  mvte"  in  Knights  Tale,  1.  ']00,  Samp.  Tale,  1.  253, 
Sec.  N.  Tale,  1.  5 1 1,  Ch.  Vem.  Tale,  Pr.  1.  80  ;  "  Not  worth  a  flye  "  in  Pari,  of  F., 
1.  501 ;  "Not  worth  a  bene"  in  Merch.  Tale.  In  the  Rom.  of  the  Rose  are 
"Not  worth  a  croked  brere,"  1.  6191 ;  and  "Not  worth  an  hen,"  1.  6856.  In 
Piers  Plow,  is  "She  counteth  nought  a  russhe,"  Pas.  iii,  1.  141.  Gower 
uses  "Not  worth  a  kerse,"  Conf.  Am.  I,  p.  334,  and  "Not  worth  a  stre,"  I, 
p.  364.  Skelton  has  "Set  not  a  nut  shell,"  Col.  CI.  1.  1227.  Cf.  Dunbar, 
Fre.  Hon.  and  Nob.  1.  42  : 

"Set  not  by  this  warld  a  chirrv." 
Douglas  says  (Works  II,  p.  1 16,  1.  19)  :     "I  compt  it  neuir  a  myte." 


76  Notes. 

1.  600.  rt't'^^'^injiire.      Cf.  Rom.  of  the  Rose.  1.  4336  : 

"Mav  falle  a  weder  that  shal  it  dere." 

1.  601.  a  son  of  iiiyne.  With  what  an  imperfect  imagination  Lydgate  grasps 
the  symbolism  of  his  poem  may  he  gathered  by  comparing  this  mere  refer- 
ence of  \'ice  as  the  bastard  son  of  I'luto  with  the  mighty  passage  in  Mil- 
ton's Par.  Lost  (Bk.  X)  which  describes  the  relationship  of  Satan  and  Sin 
and  Death.  Then  I  have  misgivings  for  having  attempted  to  revive  this 
Lydgate  ;  one  then  realizes  the  force  of  Prof.  Lounsburv's  remark  in  his 
Studies  in  Chaucer  that  it  is  unfortunate  that  the  dead  j)ast  cannot  bury 
not  only  its  dead  but  its  bores. 

1.  602.  ^'awrtn/=  reduction  of  vantward.     Cf.  Sliakes.     I/e>i.  V,  iv,  3  : 

"Ibeg 
My  lord,  most  humbly  on  mv  knee 
The  leading  of  the  vaward." 
This  form  is  found  as  late  as  Drayton's  Agincourt,  Ode  XII : 
"The  eager  vaward." 

P.  19,  11.  610  et  seq.  the  battle.  Bunyan's  Holy  War  offers  many  parallels  to  the 
conduct  of  this  battle.  Thus  we  are  told  that  the  P'ather  appointed  his  Son 
to  captain  the  forces  of  Good,  that  Emanuel  chose  five  captains  to  accom- 
pany him,  captains  Credence,  Good-hope,  Charity,  Innocent,  and  Patience, 
each  with  a  standardbearer  and  holy  escutcheon  to  advance  ten  thousand 
men.  Emanuel  rode  at  their  head  in  a  chariot.  The  army  of  Diabolushad 
set  over  it  other  captains  :  Diabolusthe  King,  Incredulity,  the  Lord-general, 
the  seven  chief  captains  Beelzebub,  Lucifer,  Legion,  Appollvon,  Python, 
Cerberus  and  Belial,  and  minor  captains  Rage,  Furv,  Damnation,  Insatiable, 
Brimstone,  Torment,  No-ease,  Sepulchre  and  Past-Hope.  This  armv, 
uncountable  in  number,  set  out  from  Hell-gate  Hill  and  came  by  a  straight 
course  toward  Mansoul,  whose  five  gates  (the  five  senses)  they  attack  with 
varying  fortune  though  with  ultimate  defeat.  The  general  question  of 
Bunyan's  sources  and  models  has  not  been  fully  considered.  While  it  is 
apparent  that  he  drew  almost  wholly  from  the  Bible  and  his  own  conscience, 
yet  his  work  must  have  been  in  part  determined  bv  the  traditional  accounts 
of  Mansoul's  Wars. 

1.  612.  dereygne^^i>(tt  in  order,  prepare.     Cf.  Chaucer,  A'nights  Tale,  1.  773: 

"  Bothe  suffisient  and  mete  to  darreyne." 
Cf.  Spenser,  F.  Q.  IV.  iv.  26  : 

"  Unable  he  new  battell  to  darraine." 

1.  617.  Vyce,  etc.  It  is  possible  to  form  from  the  drawings.  Moral  Plavs  and 
literature  of  the  period  a  very  accurate  picture  of  the  different  vices  as 
objectified  in  human  symbol.  If  Lydgate  is  wanting  here  in  descriptiveness 
it  is  probably  because  the  work  of  delineation  had  been  done  before  him 
and  nothing  more  was  needed  beyond  mere  mention.  Langland  in  Piers  the 
Plowman  (Pas.  v)  is  especially  realistic  and  dramatic  : 
"  Now  awaketh  Wratthe  with  two  whvte  even. 

And  nyuelvnge  with  the  nose  and  his  nekke  hangynge  ;  " 
"Thanne  come  Sleuthe  al  bislabered,  with  two  slymy  eighen  ; " 
"Eche  a  worde  that  he  (envy)  warpe  was  of  an  addres  tonge, 
Of  chydvnge  and  of  chalangynge  was  his  chief  lyflode, 
With  bakbitvnge  and  bismer  and  bervng  of  fals  witnesse." 
See  especially  Covetousness  rjuoteil  below  (1.  626). 
-  In  such  character  the  \'ices  were  kept  constantly  before  the  people  in  play  and 
/      pageant,  which  i)ractice  was  continued    until   late  as  witnessed  bv  Richard 
Tarlton's   play    of  the    Seven   Deadly   Sins,  in   which    Lvdgate    himself  is 
presented  as  moving  the  scenes  (cf.  Collier,  Hist.  Dr.  P.  Ill,  p.  394),  and  by 
such  a  remark  as  that  "made  bv  Dick  Bowyer  in  Tryall  of  Che~'alry  (c.  1605, 
Old   Plays,  ed.   Bullen,  III):     "If  I  had  a  pageant  to  present  of  the  seven 
deadly  sinnes,  he  should  play  Slouth."  So  long  as  these  characters  remained 


Notes.  7  7 

before  the  people  Lydgate's  description  was  sufficient.  I  make  this  note 
because  everywhere  the  relation  between  the  pictorial,  scenic  and  literary 
art  of  the  period  must  be  emphasized. 

For  the  subjective  conception  see  Chaucer's  Pers.  Tale  and  Gower  s  Conf. 
Am.  etc.  For  a  later  characterization  see  Day's  Tractates  (c.  1600)  ed. 
Bulien. 

1.  617.  cure  boyle.  This  is  one  of  many  expressions  relating  to  tournament 
which  were  introduced  into  literature,  in  this  case  from  the  P>ench,  during 
the  Middle  Ages.  It  means  literally  "boiled  leather."  It  seems  that  the 
knights  wore  under  their  coat  of  mail  a  garment  made  either  of  silk  and 
then  called  " wafenhemd"  or  of  leather  and  called  "curie."  The  latter 
garment  was  worn  in  France.  It  was  made  of  strong  leather  made  pliable 
by  boiling.  Chaucer  in  Tale  of  Sir  Th.  1.  164  uses  the  phrase,  "His 
jambeaux  were  of  quirboily,"  the  term  being  interpreted  as  "tanned 
leather."  Prof.  Skeat  (notes  to  Pr.  T.  p.  166)  gives  references  to  Marco 
Polo  (ed.  Yule,  II,  49)  where  the  men  of  Carajan  are  said  to  wear  "  armes 
cuiraces  "de  cuir  bouille ;"  also  to  Froissart  (V.  IV,  cap.  19)  who  says 
the  Saracens  covered  their  targes  with  "  cuir  bouille."  The  term  occurs  in 
Barbour's  Bruce  XII  1.  21-2: 

"  And  on  his  basnet  hye  he  bar 
Ane  hat  off  qwyrbolle  ay-quhar." 

In  Recuyell  of  the  Hist,  of  Troye  ''  armed  well  with  quyer  boullye  "  translates 

thfe  Fr.  "armez  de  moult  beaux  habillemens  courroyez.'' 

See  Cutts,  Scenes  and  Char,  of  M.  A.,  p.  344- 

1.  620.  croppeand  roote.     Lydgate  makes  a  very  frequent  use  of  this  formula. 

See  Temp,  of  Glas,  1.  455  :  ' 

"  Humble  and  benygne,  of  trouth  crop  and  rote." 

See  Schick's  references  in  notes  to  Temp,  of  Glas,  p.  98.     Chaucer  has   it   in 

Troyl.  and  Crys.,  II.,  1.  348  : 

"  And  ye,  that  be  of  beaute  crop  and  roote." 

It  occurs  in  Dunbar,  The  Flyting,  1.  73  : 

"  Thow  crop  and  rute  of  traitouris  tressonable." 

It  is  an  expression  still   common  in   Scotland  (W.  Gregor).      Dunbar  has 

also   "  crop  and  grayne  "  ( The  Warldis  Instab.,  1.  99)-     Lydgate  in  Mm.  P. 

uses    "roote    and    grounde "    (p.    123),    "  gynnyng    and    roote"     (p.    125) 

"gynnyng  and   ground"  (238),  and  in  this  poem  "roote  and  rynde"_(l.  66). 

Caine  in  "77/^  Mafixinan  (ch.  xxii.)  has  "neck  and  crop"   and  Meredith  the 

same  phrase  in  The  Ordeal  of  Pich.  Feverel. 

1.  621.  Pryde.     Pride  is  put  the  first  as  the  master  sin;    by  that  sin  fell  the 

angels  : 

"For  Lucifer  with  hem  that  felle 
Bar  Pride  with  him  in  to  helle  " — Gow.,  Conf.  Am.,  I.,  p.  153. 

He  appears  again  as  General  of  the  Army  of  Sin  in  Day's  Tractates  (Tract. 

7,  ed.,  BuUen,  p.  55).      See  Introd.  p.  Ixxii. 

1.  622.  Pryde  on  a  lyon,  etc.  In  the  symbolism  of  the  Middle  Ages  animals 
were  used  as  signs  of  vices  and  virtues.  The  custom  was  started  by  the 
theologians,  notably  Jerome.  In  certain  of  the  early  Bestiares,  as  the  Renart 
k  A^o«W(i288)  the  animals  were  first  associated  with  the  Moralities.  Dante 
in  entering  the  dark  wood  was  confronted  by  a  leopard,  a  lion  and  a  wolf, 
typical  of  certain  sins.  In  the  Ancren  Riivle  the  symbolism  is  well  estab- 
lished. In  the  processional  described  in  the  Faerie  Qiieene  (I.,  iv.)  Idleness 
is  seen  riding  upon  an  ass,  Gluttony  on  a  swine,  Lechery  on  a  goat,  Avarice 
on  a  camel,  Envv  on  a  wolf  and  Wrath  upon  a  lion.  Bunyan  makes  some  use 
of  this  traditional  symbolism  in  the  lions  that  guarded  the  palace  Beautiful. 

1.622.  Eiiiiv.  Envy  is  personified  in  the  Temp,  of  Glas,  1.  147;  cf.  also 
Ro»i.ofthe'Rose,\.2i,^;  Court  of  Love,  1.  1254,  etc.  For  the  portrait  of 
Envy  see  Spenser,  F.  Q.,  V.,  xii.,  29-32. 


78  Notes. 

1.  626.   Cottelyse.     A  fine  description  of  Covetousness  is  drawn  by  Langland 
in  Piers  Plow.  Pas.  v.,  11.  188-94  : 

"And  thanne  cam  Couevtise   .... 

So  hungriliche  and  hohve,  sire  llervv  hvm  loked, 

He  was  bitelbrowed  and  baberlipped  also, 

With  two  blered  eyghen  as  a  blynde  hagge  ; 

And  as  a  letheren  purs  lolled  his  chekes, 

Wei  sydder  than  his  chyn  thei  chiueled  for  elde  ; 

And  as  a  bondman  of  his  bacoun  his  berde  was  bidraueled." 
This  Vice  is  often  mounted  upon  a   horse   that   he  may  speed  more  quickly, 
as  in  Evil  Times  of  Ed.,  II.  (Polit.  Songs,  p.  326)  : 

"Coveytise  upon  his  hors  he  wole  be  sone  there 

And  bringe  the  bishop  silver,  and  rounen  in  his  ere." 
Covetise   is  personified   in   the  Temp,  of  Glas,  1.   244.     The    fifth   book   of 
Gower's  Con}'.  Am.  is  devoted  to  Avarice. 

1.  627.  olyfatuit.  This  is  the  spelling  of  Maundeville  and  Skelton.  "  Oli- 
phantes  "  is  found  in  l.vndesay's  iMonarc/te,  1.  2295. 

1.  631.  Slo-othe.  Sloth  is  personified  in  Temp,  of  Glas,  1.  244.  See  Rom.  of 
(he  Pose,  11.  531,  593,  1273,  etc. ;  Faery  Queene,  I.,  iv,  18,  etc. 

1.  636.  Symony.  Note  the  feeling  of  Langland  in  this  matter,  Piers  Plow., 
Pas.  ii.,  11.  62-3,  86: 

"  Ac  Symonve  and  cyuile  and  sisoures  of  courtes 
Were  most  prvue  with  Mede  ;" 
the  priests  wish  to  live  in  London 

"And  syngen  there  for  symonye  for  silver  is  swete." 
See  Dante's  Inferno  (c.  xix.)  for  the  punishment  of  the  guilt  of  Simony. 

P.  20,  1.  640.  lelacy.     Jealousy  is  personified  in  the  Temp,  of  Glas,  1. 1 48.    See  Pom. 
of  the  Pose,  1.  3820 ;  Pari,  of  F.,  1.  252  ;   Quair,  877. 

1.  644.  Vsury.  Usury  was  the  special  sin  of  Avarice  (v.  P.  PL,  Pas.  v.,  1. 
240-52).  All  usury  was  prohibited  as  a  sin  by  the  Canon  Law  (Southey, 
Bk.  of  the  Church,  p.  187).  It  was  the  theory  of  the  schoolmen  that  the  tak- 
ing of  interest  was  unholy  since  money  was  not  of  itself  productive.  Dante 
consigned  usurers  to  one  of  the  lowest  regions  of  Hell.  The  ctmtinued  pre- 
judice in  England  against  the  money  lender  is  testified  by  Shakespeare's 
Merchant  of  Venice,  and  Bacon  repeated  the  old  theory,  "  It  is  against  nature 
for  money  to  beget  money."  Cf.  a  Roxbury  Ballad  (I.,  p.  426): 
"  The  Usurers  follow, 

That  pawnes  have  in  hand  ; 
With  whoop  and  with  hollow 

They  call  for  the  Land 
W'hich  spend-thrifts  pawne  to  them 

While  for  cash  they  hye  ; 
To  live  to  undoe  them 

This  bargaine  they'l  buy." 
1.  648.  Boldnes  \  in    Yll  \  with  Foul  \  e  Ry  \  bandy.     In  this  line  the  final  e 
in  foule  seems  to  be  pronounced.     But  Text  B   and  the   Prints  read  Foule 
and  Rybaudy. 

1.  655-  New-fa7igylnes.  The  love  of  novelty  seems  to  have  been  considered 
a  special  vice  of  the  times.  Lydgate  in  Min.  P.  (p.  71)  speaks  of  "the  ser- 
pent of  newfangelnesse  "  and  says  (p.  60) : 

"  I-bannysshed  have  newfangelnesse 
And  put  in  his  ])lace  persevcraunce." 
Chaucer  writes  against  "Women  Unconstant": 
"  Madame,  for  your  newe  fangelnesse 
Many  a  servaunt  have  ye  put  out  of  grace  .... 
To  newe  thing  your  lust  is  ever  kene." 
See  also  An.  a7id  Arc,  1.  141;  Leg.  of  G.  Worn.,  Pr.,  1.  154.     Nichol  New- 


Notes. 


79 


fangle  is  the  "Vice  "  in  the  interlude  Like  will  to  Like  (1568).  This  is  also 
one  of  Stubbes'  "Abuses  "  (p.  31). 

1.666.  Idylnesse.  Lydgate  calls  Idleness  the  "  Moder  to  vices"  (Min.  P., 
p.  88)  and  the  "Chief  porteresse  "  of  the  vices  (Min.  P.,  p.  68).  In  yEsop 
he  says  again  that  "Vice  alle  proceden  of  idelnesse."  Cf.  Chaucer,  Sec.  AF. 
Tale,  11.  1-3  : 

"The  ministre  and  the  norice  unto  vices, 

Which  that  men  clepe  in  English  ydelnesse, 

The  porter  of  the  gate  is  of  delyces." 

I.  668.  bid  there  7vas  an  \^h'\ost!  Considering  the  chief  vices  as  roots  and 
stems,  the  secondary  branches  and  twigs  become  innumerable.  Thus  Chaucer 
enumerates  in  the  Pers.  7 ale  among  the  tviigs  from  the  root  of  pride  inobe- 
dience,  avaunting,  ypocrisve,  despit,  arragaunce,  impudence,  swellyng  of 
hert,  insolence,  elacioun,  impacience,  strif,  contumacie,  presumpcioun,  irrev- 
erence, pertinacie,  and  veinglorie.  This  gives  material  and  scope  for  incal- 
culable growth  and  differentiation.  Give  the  fancy  play  and  in  a  moment 
one  exclaims  with  Barclay  {Skip  of  Fools,  I.,  p.  4)  : 

"For  yf  1  had  tunges  an  hundreth  :  and  wyt  to  fele 

Al  thinges  natural  and  supernaturall, 

A  thousand  mouthes  :   and  voyce  as  harde  as  stele, 

And  sene  al  the  seven  sciences  lyberal, 

Ytt  cowde  I  neuer  touche  the  vyces  all, 

And  syn  of  the  worlde  :  ne  theyr  braunches  comprehende  : 

Nat  thoughe  I  lyued  vnto  the  worlds  ende." 
For  the  abundance  of  vices  of  the  time  of  Henry  VIII.,  v.  Tlie  Hy  Way  to 
/■//if  6"/i///-//()«JC  (Bartholomew's  Hospital,  London):  description  in  Furnivall's 
ed.of  Capt.  Cox,  etc.  (Ballad  Soc.)  p.  ci-ciii. — twenty-three  sets  of  unfortunates. 
See  especially  the  list  of  "unthrifts,"  p.  ciii.  Cf.  Wyclif's  list  of  sins  in 
Fifty  Heresies  and  Errors  of  Friars  (ed.,  Arnold,  HI.,  p.  366).  Cf.  the 
vices  that  voyage  in  Barclay's  Ship  of  Fools  ;  also  those  satirized  in  Skel- 
ton's  Bowge  of  C^urt  2ir\A  ih.Q  list  of  rogues  in  the  Miracle  Plav,  The  Last 
Judgment  {KoxhuTge  C\uh).  For  the  species  of  rogues  and  vagabondes  in 
Elizabethan  England,  cf.  Thornbury,  Shales.  Engl.,  I.,  ch.  viii.;  Decker's 
English  Villanies,  Harrison's  England,  II.,  ch.  xi.,  passim:  Three  Tracts 
about  Old  Rogues,  ed.  by  Viles  and  Furn.  (N.  Shaks.  Soc);  Stubbes'  Anat- 
omy of  Abuses  (N.  Shaks.  Soc).  These  enumerations  throw  much  light  upon 
the  practical  life  of  the  time.  Many  of  the  Commons  in  Lydgate's  list  are 
not  known  to  us  even  by  name. 

P.  21,1.  673  et.  seq.     Langland  groups  "bakbiteres,  breke-chestes,  brawleres  and 
chideres"  {P.  PL,  Pas.  xvi.,  1.  43). 

II.  674,  676.  /rtj£'r5=boasters,  <:;'«/?'£';-.?= vaunters.  See  Skelton,  Garl.  ofLaur,, 
11.  188-9  : 

"Some  lidderons,  some  losels,  some  noughty  packis; 
Some  facers,  some  bracers,  some  make  great  crackis ;" 
Borde,  Bk.  of  Kno'vl.: 

"  I  wyll  boost  myselfe,  I  wyll  crake  and  face ;" 
Barclay,  Ship  of  Fools,  I.,  p.  198 : 

"For  greatest  crakers  ar  nat  ay  boldest  men. 

1.  679.  scismatykes.     Cf.  Piers  Ploiv.,  Pas.  xi.,  1.  1 14-15  : 
"For  Cryste  cleped  vs  alle  come  if  we  wolde, 
Sarasenes  and  scismatikes  and  so  he  dyd  the  lewes." 

1.  681.  coyn  wasshers  and  clyppers.  For  the  evil  of  counterfeiting,  etc.,  cf. 
Hoccleve's  Complaint,  Min.  P.,  xxi. 

1.  685.  tregetours.  For  the  pretentions  of  these  tricksters  see  Frank.  Tak,\\. 
413-20: 


8o  Notci. 

"Which  as  the  subtile  tregetours  pleyen 
For  oft  at  testes  have  I  herd  seyen, 
That  tret{ettoures,  wilhinne  an  halle  large, 
I  Ian  made  in  come  water  and  a  barge, 
And  in  the  hall  rowen  up  and  doun ; 
Sometyme  hath  semed  come  a  grym  leoun 
Som  tvme  a  castel  al  of  lym  and  ston, 
And  whan  hem  liked  voyded  it  anon." 

1.  691.  stalkers  by  night.  A  proclamation  was  made  in  London  in  1329 
to  the  effect  that  no  one  should  be  so  daring  as  to  go  wandering  about  the 
city  after  the  hour  of  Curfew  (see  Meiiior.  of  Loud.,  ed.  Rilev.  1,  p.  173;  II, 
p.  482). 

1.  692.  brekers  of  lofedayes.  Love-days  were  days  fixed  for  settling  differences 
by  umpire.     Cf.  Cov.  Myit : 

"  Now  is  the  love-day  mad  of  us  foure  fyniallv, 
Now  may  we  leve  in  pes  as  we  were  wonte." 
A  passage  in  Wyclif's  Tracts    (Works,  ed.   Arnold    III,  p.  322)  throws  light 
upon   the   custom.      We  see  k'lights    and    yeomen    kneeling    in    the  castle 
chapel,  a  general  gathering  in  the  hall,  statements  from  both  sides,  arbitra- 
tion and  reconciliation  (Arnold). 

1.  693.  getters.     Cf.  Barclay,  Ship  of  Fools.,  I,  p.  146  : 

"  Ye  wasters  and  getters  by  nyght." 
In  Bunyan's  Pilg.  Prog,  is  a  schoolmaster  who  taught  the  art  of  "getting" 
either  by  violence  or  cozenage,  flattery,  lying,  etc. 

1.694.  Tyiyuyllys.  Any  person  with  evil  propensities  (Collier).    Douce  derives 
the   name   from    Titivilitium,  a  word   used  by  Plautus.     Collier  suggests  its 
derivation  from  lotus  and  vilis.     He  appears  in  Tlie  Mirroure  of  Oure  Ladye 
(E.  E.  T.  p.  54)  saying  "I  am  a  poure  dyvel  and  my  name  ys  Tytyvyllus." 
His  ofifice  was  to  bring  to  his  master  every  day  one  thousand  bags  of  sylla- 
bles skipped  in  reading  and  singing  the  divine  service  in  the  churches.     He 
appears  in  this  character  in  MS.  Lansd.  762  ((juoted  by  Wright  ): 
"  Hii  sunt  qui  Psalmos  corrumpunt  nequitur  almos  : 
Jangler  cum  jasper,  lepar,  galper  quocjue,  draggar, 
Momeler,  for-skvpper.  for-revnner,  sic  et  over-leper, 
Fragmina  verborum  Tutivilliis  zo\\\Q^\\.  horum." 
He  became  a  common  figure  in  the  plays  as  any  evil  fellow.     He   is  one  of 
the  devils  in  the  play  of  The  Last  fudgment,  where  he  seems  to  be  a  church- 
man opposing  the  heresy  of  Wyclif.     He   is  a  fiend   in   a  Townely  Mystery 
(pp.  310,  319)  and  a  lawless  fellow  in  Kalf  Roister  Doister.    He  is  a  fiend  in 
Mankind  representing  the  sin  of  the  flesh.     Skelton  {Col.  CI.  1.  41S)  uses  the 
phrase  "  and  talkvs  Ivke  tytvuelles,"  probably  here   a  tale-bearer,  in  which 
character  he  appears  in  Rogues  and  Fag.  (N.  Shaks.  Soc.  p.  15).    In  Stubbes' 
Anal.  0/ Abuses  he  is  a  flatterer  (p.  122).     The  word  occurs  again  in  Skel- 
ton's  Garl.  of  L.aur.,  1.  642.    See  Collier,  Hist.  Dr.  P.  II,  pp.  146,  297,  223; 
Dvce's  notes  on  Skelton  ;    notes  to  Afyrrour  of  O.  Ladye,  p.  342. 

1.  6g6.  far^/t'/'.i'— card-plavers.  For  the  punishment  for  cheating  at  play  see 
Mem.  of  L^ond.  (ed.  Riley,  II,  p.  395).  "Turning  the  tables"  was  one 
method  of  cheating. 

1.  696.  closshers.  This  was  a  kind  of  game.  Cf.  Stubbes'  Anat  of  Ab. 
notes  p.  316:  an  act  of  Hen.  VHI.  —  "noe  manner  of  person  shall  .  .  .  . 
kepe  .  .  .  any  alley  or  place  of  bowlinge  Coytinge,  Cloyshe,  Coyles,  etc." 

1.  697.  Tyburne.  The  place  of  execution  in  London.  Cf.  Rowland's  A 
Fooles  Bolt  is  soone  Shot: 

"Of  Tybourne  (i.  e.  the  gallows)  common  liye-way  cannot  fayle." 
Harrison  {England  II,  ch.    16)  calls  the  halter  a  "  Tiburne  tippet."     This 
was  also  the  name  of  a  prison  in  London.     Coloppys  means  pieces  of  meat, 


Notes.  8 1 

used  figuratively  often  for  children  (as  in  T.  Hen.  vi,  v.  5).  "  Tyburne 
coloppys  "  may  have  been  a  slang  phrase.     Cf.  Cocke  Lorelles  Bote,  C.  i.  a. 

1.  698.  double  tolly  ng  wj/Z/crj- ^  those  millers  who  tolled  with  a  too  "golden 
thumb." 

1.  702.  /^rti/'f/'i-^receivers  of  stolen  goods  etc.  Cf.  Stubbes'  Anat.  of  Ab. 
Pt.  II.,  p.  40. 

1.  707.  sotyll  rtw/)/£/^x/rf5  =  Jacks-of-both-sides.  "Ambidexter  is  that  jurous 
orembraceour  that  taketh  of  both  parties  for  the  giving  of  his  verdict"  (Cowell'r 
Inter pretei').  A  tricksey  character  called  Ambidexter  appears  in  Bullein's 
Dialogue  against  the  Fev.  Pest.  (E.  E.  T.  p.  20),  Cf.  Middleton,  Fam.  0/ 
Love,  V,  3  :  "  I'll  play  Ambidextei  "  ;  also  Peele,  Sir  Cly.  and  Sir  Clam.,  sc. 
vi,  1.  77.  In  an  early  American  poem  by  Ebenezer  Cook  reference  is  made  to 
"an  ambidexter  Quack 

Who  learnedlv  had  got  the  knack 

Of  giving  glisters,  making  pills. 

Of  tilling  bonds  and  forging  wills  " — Libr.  of  Amer.  Lit.  II,  273. 
Stubbes  in  his  Anatomy  of  Abuses  speaks  of  "  doble  dealing  ambodexters" 
(p.  141). 

1.  708.  Sodomy tes.  Used  by  Stubbes  to  signify  fornicators  {Anat  of  Ab. 
I.   p.  145). 

P.  22,  1.  710.  ivetewoldes  that  suffre  syn  in  her  syghtes.  A  wittol  was  a  tame 
"cuckold  "—one  who  had  knowledge  of  his  wife's  infidelity.  Skelton, 
Garl.  of  Laur,  1.  187,  refers  to  "  wetewoldis."  Middleton  in  Chast  Maid  of 
Cheapside  gives  a  picture  of  one.     Cf.  Shaks.  Mer.  W.  of  Wind.,  II,  2  : 

"  But  cuckold  !  wittol-cuckold  !  the  Devil  himself  hath  not  such  a  name." 
Cf.  Loves' s  Labour's  Lost,  v,  904-12  : 

"When  Daisies  pied  and  Violets  blew 

And  Cockow-buds  of  vellow  hew 

And  Ladie-smokes  al  silver  white, 

Do  paint  the  Meadowes  with  delight, 

The  cuckow  then  on  everie  tree 

Mocks  married  men  ;  for  thus  sings  he. 

Cuckow  ! 

Cuckow  !  Cuckow  !  O  worde  of  feare, 

Unpleasing  to  a  married  eare." 

1.  711.  abhominable.     This  is  the  regular  spelling  of  the  N.  E.  abominable  in 

0.  Fr.  and  in  English  from  Wyclif  to  the  seventeenth  century.  This  spelling 
is  defended  by  Holofeines  in  Love's  Lab.  Zoj/ against  the  "  racker  of  orthog- 
raphy" who  would  say  abominable. 

1.  711.  auauntours.  Cf.  Chaucer, /'t'r.f.  Tale:  "Avauntour  is  he  that  bosteth 
of  the  harm  or  of  the  bounte  that  he  hath  don." 

1.  713.     vnthryftys.     Cf.  Barclay,  Ship  of  Fooles,  I,  p.  2  : 
"  But  such  Unthriftes  as  sue  theyr  canial  lust." 

1.  714.  loselles.  Cocke  Losel  or  Lorel  was  a  generic  term  for  a  rascal.  Cf. 
Browning,  Sti-afford.  Ill,  2,  1.  170. 

1.  717.    for  to  say.     The  common  M.  E.  usage.     "For  to  fet,"  1.  1 1 55. 

1.  727-  L  will  auauntage  take  where  I  ?/iay.  Cf.  the  words  of  Legion  in  Bun- 
yan's  Holy  War:  "  Therefore  let  us  assault  them  in  all  pretended  fairness, 
covering  our  intentions  with  all  manner  of  lies,  flatteries,  delusive  words." 

1.  732.  wor/'fl// =  equivalent  to  "lethalis,"  deadly.  Cf.  yEsop,  Fab.  4,  1.  34, 
"Of  mortal  hunger." 

1.  732.  shoure  —  conflict,  struggle.  O.  E.  scur.  Commonly  applied  to  the 
assault  of  battle.     See  line  1042. 


8  2  Notes. 

1.  742.  to  me  ward.  Toward  was  frequently  divided  and  the  object  inserted 
between  the  parts  as  here.  Cf.  II  Cor.  3: 4  :  "And  such  trust  have  we 
through  Christ  to  God-ward." 

P.  23,  1.  748.  Ymaginacion.  Note  the  part  played  by  Imaginative  in  Piers  Plow. 
Pas.  xii. 

1.  760.  mowle.  Mowe  and  mowte  are  common  in  M.  E.  See  1.  264  where 
mought  rimes  with  fought. 

1.766.  lest  and  moost.  A  common  formuhi  in  Lydgate,  Chaucer  and  other 
writers.     Cf.  Cli.  Tale,  1.  460  : 

"  F"aire  they  were  welcomed  bothe  lest  and  meste." 
Langland  (Piers  Ilo-v.,  Pas.  ii,  1.  45)  has  "the  lasse  and  the  more." 

1-  773-    trayne.     Cf.  Fairfax's  Tasso,  II,  1.  89: 

"So  lions  roar,  enclos'd  in  train  or  trap"; 
Fairy  Queetie,  Bk.  I,  c.  iii,  st.  24  : 

"By  traynes  into  new  troubles  to  have  toste." 
Milton   has  "wily   trains"   in    Covins,   1.  151.     Shakespeare  uses  it  once  in 
this  sense  in  Macbeth,  W .  3. 

1.  773.     col/rop  =  a.  pointed  iron  instrument  strewn  in  battle  fields  to   hinder 
cavalry.     Cf.  Beaumont  and  Fletcher,  Love's  Pilgrimage  : 
"I  think  they  ha'  strew'd  the  highways  with  caltraps, 
No  horse  dares  pass  'em." 
It   occurs    in    Middeton,    Women   Be^vare    Women.     Cf.    the   proper  name 
Caultrap. 

1.776.  Vyce  liys.  See  "Vertewhys,"  I.  798  etc.  The  corruption  of  his 
for  O.E.-es,  the  genitive  termination,  is  found  as  early  as  Layamon's  Brut; 
"For  Gwenayfer  his  love."  "Inewas  the  forste  mon  that  Peter  his  peny 
bigan"  Brut,  (B.)III.,  1.  285.  The  Prayer  Book  has  "For  Christ  his  sake." 
Cf.  Stubbes'  Anat.  of  Abuses  (1583)  p.  75  :  "Every  poore  Yeoman  his 
daughter,  every  Husbandman  his  daughter,  and  every  Cottager  his  daughter." 
This  use  occurs  in  Spenser,  Shakespeare  and  Bacon  and  did  not  die  out  until 
the  eighteenth  century.  Ben  Jonson,  English  Grammar  XIII,  calls  it  "the 
monstrous  svntax  of  the  pronoun  his  joining  with  a  noun  betokening  a 
possessor";  and  yet  Addison,  Spectator  No.  /jj,  writes  that  "  the  same  single 
letter  (s)  .  .  .  represents  i\\e  his  and  her  of  our  forefathers";  v.  Marsh  Lec- 
tures XVIII  (Percival).  In  Guardian  yVb.  g8  Addison  writes:  "  Mv  paper 
is  the  Ulysses //w  bow."  The  use  extended  to  the  feminine  gender  and  the 
plural  number  (v.  Cent.  Diet,  under  his'). 

1.  776.  pu) seuaunte.  Cf.  Chaucer,  Lto.  of  Fame,  1.  1321  :  "The  purse- 
vauntes  and  heraudes";  Flow,  and  Leaf,  1.  232:  "Of  heraudes  and  purse- 
vauntes  eke."  Shakespeare  has:  "These  gray  locks  the  pursuivants  of 
death"  [Henry  VL,  II,  5,  5).  Browning  uses  it  in  Blot  in  the  Scut.,  Act  I, 
1.  4;  and  Tennyson  in  Balin  and Balan:  "A  spangled  pursuivant." 

P.  24)  1.  792.  foure  dowty  knyghty^  =  the  virtues  called  "  Cardinal "  in  accordance 
with  the  Platonic  Ethics.  These  virtues  together  with  the  theological  triad 
appear  as  maidens  in  Dantes  Purg.  (c.  xxix)  accompanying  the  chariot 
of  the  Church.  This  pageant  of  the  advance  of  Virtue  suggests  that  of  the 
last  five  cantos  of  the  Purgatorio.  No  doubt,  such  scenes  occurred  in  the 
street  processional  plays.  Note  the  pageant  in  tiie  Anti-Claudianus  with 
Reason  as  charioteer.  (There  is  a  vicar  in  Piers  Plow,  who  said  the  only 
cardinals  he  knew  were  those  sent  by  tlie  Pope.) 

I.  808.  Pacyence.  In  Piers  Plow.  Patience  is  described  as  a  tree  which 
grows  in  the  heart  and  bears  fruit  of  Charity.  The  tree  is  supported  against 
the  winds  of  the  world,  the  flesh,  and  the  devil  by  three  props  denoting  the 
Trinity. 


Notes.  S3 

P.  25,  1.  815.  This  line  seems  to  be  corrupted  in  the  MS.  which  reads  "was  tra- 
pure  was  gay."  Trapttre  refers  to  the  "trappings"  of  the  steed.  Cf.  Flow. 
and  Leaf,  11.  244-5  : 

"With  cloth  of  gold  and  furred  with  ermine 
Were  the  trappores  of  here  stedes  stronge, 
Wide  and  large,  that  to  the  ground  dide  honge  "  ; 
Lydgate,  Min.  P.,  p.  118  : 

"  Trappours  of  golde  ordeyned  were  for  stiedis  "  ; 
Hawes,  Past,  of  Pleas.,  p.  132  : 

"  Wvth  haute  courage  betrapped  fayre  and  gaye 
Wyth  shyning  trappers  of  curiositie." 

1.  824.  to  steiiyn.  Stevene  is  always  employed  by  Chaucer  as  a  noun.  It 
has  here  a  verbal  use  probably  from  the  necessity  of  the  rime.  There  was, 
however,  the  older  verb  from  stefnen  (cf.  M.  E.  Diet.,  Strat.-Brad.). 
Douglas  has  (II.,  p.  225,  1.  8):  "  towart  the  port  thai  stevin"  =  directed 
their  ship;  but  this  is  from  the  Ici.  stefna  =  prow.  Chaucer  has  this  set  of 
rimes  in  Kn.  Tale,  11.  1720-21  ;  Troil.  and  Cris.,  III.,  11.  1723-25  ;  Leg.  of 
G.W.,  11.  1218-19. 

I.  844.  Pouerte.  Poverty  was  a  highly  praised  virtue  in  the  Church.  It  is 
said  in  Piers  Plow.,  Pas.  xiv.,  that  this  virtue  preserves  men  from  the  Seven 
Sins,  for  it  (l)  is  hateful  to  Pride,  (2)  has  few  responsibilities,  (3)  does  not 
win  wealth  falsel)',  (4)  is  the  gift  of  God,  (5)  is  the  mother  of  health,  (6)  is 
without  peril  of  robbery,  (7)  is  a  source  of  wisdom,  (8)  deals  fairly  with 
others,  (9)  is  without  care.     Feigned  Poverty  is  one  of  the  Vices,  1.  657. 

P.  26,  1.  854.  Konnyng  ivith  hys  genalogy.  That  is  to  say  the  Seven  Arts  and 
Sciences.  The  seven  sciences  as  originally  distinguished  were  Mathematics, 
Geometry,  Astronomy,  Music,  Ethics,  Physics  and  Metaphysics.  The  seven 
arts  were:  Grammar,  Dialectics,  Rhetoric  (the  trivium)  and  Arithmetic, 
Music,  Geometry,  and  Astronomy  (the  quadrivium).  These  are  mentioned 
familiarly  by  all  the  learned  writers  of  the  Middle  Ages.  They  were  char- 
acterized also  in  the  plays  and  pageants  and  such  objectification  gives 
meaning  to  the  processional  of  the  poem.  In  Lydgate's  description  of  the 
King's  entry  into  London  there  is  an  account  of  a  spectacle  representing  the 
Seven  Sciences  The  name  of  Priscian  is  associated  with  Grammar  ("the 
roote  of  alle  connyng"),  Aristotle  with  Logic,  Cicero  with  Rhetoric,  Boethius 
with  Music,  Pythagoras  with  Arithmetic,  Euclid  with  Geometry,  and  Albu- 
masar  with  Astronomy  ("  alder-higiiest ").  \n  Piers  Plo'v.,  the  sciences  ap- 
pear as  sons  of  the  Clergy,  serving  the  Lord  of  Life  in  a  castle  (Pas.  xiii). 
See  Gower,  Conf.  Aman,  Lydgate's  Pnrle  Roy,  Chestre Plays  (Wright,  p.  241), 
Hallam,  Lit.  of  Europe,  etc. 

II.  867-870.  The  Magical  and  Black  Arts.  The  specific  "Black  Arts"  w«re 
commonly  five :  Necromancy,  Pyromancy,  Geomancy,  Hydromancy,  and 
Aerimancy,  signifying  divination  by  means  of  the  dead,  fire,  the  earth,  water, 
and  the  air  respectively.  These  species  are  indicated  by  Huge  de  S.  Vic- 
tore  (see  Skeat's  Notes  to  Piers  Plow.,  p.  246).  Gower  Conf.  Aman.,  III., 
p.  45,  describes  these  five  kinds  in  detail ;  see  also  Lydgate's  Secrees.  As 
to  the  merits  of  the  magical  arts,  opinion  was  divided.  The  Black  Arts 
were  almost  universally  denounced  in  this  period  in  England.  Alchemy 
and  Physiognomy  were,  however,  often  employed.  It  seems  that  there  was 
a  revival  of  Magic,  and  especially  of  Alchemv,  during  Chaucer's  and  Lyd- 
gate's lifetime.  But  we  find  that  sorcery,  soothsaying  and  magic  were  pun- 
ished in  London  as  early  as  1382,  the  affirmation  being  that  "the  art  of 
magic  redounds  against  the  doctrine  of  Sacred  Writ "  ;  the  punishment  was 
exposure  upon  the  pillory  [Mem.  of  Land.,  ed.  Riley,  II.,  pp.  462,  472,  518). 
A  statute  forbidding  the  practice  of  Alchemy  was  passed  in  1 403.  The  art 
was  revived  again  at  about  the  end  of  the  century,  so  that  Henry  VI. 
appointed  three  Royal  Commissioners  to  investigate  the  subject.  Their 
report  is  dated  1456  (see  The  Antiquary,  Sept.    1891,   for  documents   illus- 


84  Notes. 

trating  the  revival  of  Alchemy  at  about  the  middle  of  the  fifteenth  century). 
We  find  that  Alchemy  was  condemned  by  Gower  {Con/.  Am.  II.,  p.  88); 
Alchemy  and  other  arts  by  Langland  {Piers  Plow.,  Pas.  x.,  II.  207-15) ;  the 
magical  arts  in  general  by  Chaucer  (in  CIt.  Yeo.  Pale,  and  Pers.  Tale)  and 
Lydgate  (in  the  present  instance  and  Secrees  st.  82-84  —  though  favorable 
to  physiognomy,  st.  353-54,  and  in  Story  of  77/t'/'«  [fol.  390],  where  he 
condemns  Bishop  .Amphiorax  to  hell  as  the  mede  of  his  idolatry  and 
magic)  and  \\7ixc\?Ly  {Sin  p  of  Fools,  II.,  pp.  18,  191,  219).  As  a  matter  of  fact. 
Alchemy  flourished  in  spite  of  condemnation  and  belief  in  it  continued  far 
into  the  seventeenth  century  (see  Faery  Queene,  I.,  c.  i.,  st.  36-37  and  Sir 
Th.  Browne,  Works  I.,  ch.  x.).  In  Ward's  O.  E.  Drama,  Introduction  to 
Marlowe's  "Dr.  Faustus,"  the  general  attitude  of  the  M.  Ages  toward  magic 
and  magicians  is  shown.     See  Secrees,  notes,  p.  93-95. 

1.  868.     Glotony.     This  must  be  a  mistake  of  the  scribe  for  Alchemy. 

1.  870.     Pawmestry.     Divination  by  the  lines  of  the  hand. 

1.882.     dies.     Cf.  .^50/,  Fab.  5,  1.  71  : 

"The  crane  chase  a  surgeon  to  be"  ; 
Temp  of  Glas.,  1.  214,  336  : 

"Would  freli  chese." 
Note  leese  \.  iioo. 

1.  886.     ware  of  coiiUif^iotis  geere.     Contagious  geere  =  ? 

P.  27,  1.  887.    lere.     "  Lere "    here    means   learn;    "lerne"in   1.   957  means  teach. 
Cf.  Temp,  of  Glas.,  I.  297,  102 1  =  learn  : 

"  Fro  dai  to  dai  that  I  myghte  lere  "  ; 
idem,  1.  656  =  teach  : 

"  Than  cometh  dispeire  and  ginneth  me  to  lere." 
Cf.  Story  of  Thebes,  fol.  378  : 

"The  which  beasts  as  the  story  leres." 

1.  895.     secte.     Cf.  Rom.  of  the  Pose,  1.  5745  : 

"Eke  in  the  same  secte  or  sette." 

1.  896.     See  note  on  1.  1997. 

P.  28,  1.  925.     then  I  reherse  can.     Cf.  Temp,  of  Glas.,  I.  560  :  "  as  I  reherse  can" 
and  often. 

I.  932.  Macrocostne.  I  interpret  this  to  mean  Microcosm  from  the  interpreta- 
tion by  Doctrine,  st.  262.     For  the  conception    of    Microcosm    see  Secrees, 

II.  2313-17: 

"  In  beeste  nor  thyng  vegitable, 
No  thyng  may  be  vnyuersally 
But  yif  it  be  founde  naturally 
In  mannys  nature.     Wherfore  of  oon  accoord 
Oold  pliilisoffres  callyd  hym  the  litel  woord  (worlde)." 
See  also  Stubbes,  Anat.  of  Abuses,  p.  Ill  : 

"And  therfore,  wheras  in  making  of  other  things  he  used  only  this  Woord, 

FlANT,  be  they  made  or  let  them  be  made,  when  he  came  to  make  Man,  as 

it  weare   advysing   himselfc   and   asking  councell  at  his  wisdomc,  he   said 

Faciamus  Hominem,  let  us  make  Man  ;  that  is  a  wonderful  Creature  :  and 

therfore   is  called    in  Greek   MiCROCOSMOS,  a  litle  world   in  himself.     And 

truely  he  is  no  lesse,  whether  we  consider  his  spirituall  soule,  or  his  humaine 

body,  etc." 

For  a  fuller  account  of  Man,  the  Microcosm,  assailed  by  Vices  and  defended 

by  Virtues,  see  Fletcher's  Purple  Island,  the  most  dreadful  of  all  the   Holy 

Wars. 

1,  939.  hygh  weyes  fyue.    All  the  old  books  make  much  of  man's  five  senses, 


Notes.  85 

the  high-ways  of  Mansoul.     Note  the  use  made  by  Bunyan  of  this  conception 

in  Holy  War: 

"The  famous  town  of  Mansoul  had  five  gates  at  which  to  come,  and  out 
at  which  to  go  ;  and  these  were  made  likewise  answerable  to  the  walls,  to 
wit,  impregnable,  and  such  as  could  never  be  opened  nor  forced  but  by  the 
will  and  leave  of  those  within.  The  names  of  the  gates  were  these  :  Ear- 
gate,  Eye-gate,  Mouth-gate,  Nose-gate,  and  Feel-gate." 

I.  941.  blyzie.     Cf.  Chaucer,  Bk.  of  the  Dtich.  1.  152  : 

"  Go  now  faste,  and  hy  thee  blyve  ;  " 
AlsoP,  Fab.  4,  1.  206  : 

"With  ravenous  feete,  wynged  to  flee  blyue." 

P.  20,  1.  957.  lerne  hem  a  ve7o  daunce.  A  common  saying  with  Chaucer  and 
others.     Cf.  Rom.  of  the  Rose,  1.  4300  : 

"  For  she  knew  alle  the  olde  daunce." 
Cf.  Chaucer,  Troyl  and  Crys.  II.  1.  554;  £>r.  of  Ph.  Tale,  1.  79  ;   Cant.  Tales, 
Pr.  1.  470.     Cf.  Gower  Conf.  Aman.,  I.,  p.  260  : 

"Now  shalt  thou  singe  an  other  songe." 
1.  974.  diibbyd.     Cf.  Piers  Pluw.,  Pas.  i.,  11.  102-3  = 
"  For  Dauid  in  his  dayes  dubbed  knightes 
And  did  hem  swere  on  here  swerde  to  serue  trewthe  euere." 
In  Ad.  Dav.  Dream  (E.E.  T.,  1.  76)  "dubbing"  is  a  substantive  and   means 
decoration. 

P.  30  1.  998.  Reson.  Reason  is  a  common  personification.  See  Ro?n.  of  the  Rose, 
3034,3193;  Lydgate's  Min.  P.,  p.  219;  Piers  Ploiv.  Pas.  xv.,  xvi.;  Dun- 
bar's Gold.  Targe,  151,  etc.  In  Piers  Ploiv.  Reason  has  many  names: 
anima,  animus,  mens,  memoria,  ratio,  sensus,  conscientia,  amor,  spiritus. 
He  plays  an  important  part  in  the  poem. 

1.  1009.  One  instance  of  a  double  negative.     Cf.  .-Esop,  Fab.  4,  1.  53  : 
"  I  may  no  favour  do  to  nowther  side." 

I.  1012.  hyng  in  hys  balatince.     A  very  common  figure.     Cf.  Te7np.  of  Glas, 

II.  641,  348;  Chaucer,  Troyl.  and  Crys.  II.,  1.  466  : 

"  And  ek  myn  emes  lyf  is  in  balaunce." 
In  Barclay's  Ship  of  Fools  is  a  wood-cut    showing  the  world    and   things 
eternal  in  a  balance.     Cf.  Spenser's  figure  in  Faerie  Queene  V.,  ii.,  30-49. 

1.  1012.  ambygnyte.  Chaucer  has  amphibologyes.  Trail,  and  Cris.,  iv.,  I. 
1406. 
P.  31,  1.  1023.  sewe  the  felde.  Lydgate  probably  had  in  mind  the  parable  of  the 
Sower.  Langland  has  a  parable  of  the  ploughman  in  Pas.  xix.;  there  the 
weeds  of  vice  grow  in  the  field  but  they  are  uprooted  by  the  harrow  of  the 
Law. 

1.  1038.  swage.  I  define  as  "discharge"  but  find  no  authority  for  it  except 
the  context. 

1.  1038.  gonnes.  The  first  mention  of  guns  or  "gonnes"  as  being  in  use  in 
England  is  found  in  an  inventory  of  munitions  of  war  in  a  London  document 
dated  1339  (see  Mem.  of  London,  ed.  Riley,  I.,  p.  205).  These  "gonnes" 
were  made  of  brass  or  "latone"  and  fired  "pellets  of  lead,"  using  gun- 
powder.    Cf.  Chaucer  House  of  Fame,  III.,  1.  553  : 

"Swift  as  a  pellet  out  of  a  gonne, 
When  fire  is  in  the  powder  ronne  " ; 
Lydgate's  Story  of  Thebes,  fol.  392  : 

"  Noise  more  hideous  then  thunder 
Of  gonne  shot." 
The   word   was   also   employed  to  designate    a  machine    that    cast    stones. 
Cannon  is  mentioned  in  Barbour's  Bruce  (i375)  Bk.  XIX.,  1.  399.     Cannon 
had  been  used  in  Florence  in  1326. 


86  Notes. 

P.  32,  1.  1063.  abew=di  beu.     Gower  has  the  phrase  in  Conf.  Atnan.,  III.,  p.  356: 
"  Er  thou  make  any  such  assaies 
To  love  and  faile  upon  thy  fele 
Better  is  to  make  beau  retrete." 
The  word  beau  was  commonly  used  in  address  as  in  Ro}?i.  of  the  Rose,  1.  800 : 

"  What  do  ye  there,  beau  sir  ?" 
Sir  Gawain,  E.E.  T.,  1.  1222  : 

"  Nay,  for  sothe,  beau  syr  "  ; 
also  House  of  Fame,  1.  643.     Cf.  Rich.  Rede.,  Pas.  iii.,  1.  I  : 
"Now  leve  we  this  beu  brid." 

1.  1063.  lytyll  tyne.     Cf.  Skelton,  Garl.  of  Laiir.  1.  505: 

"  A  lytyll  tyne  stande  backe  "  ; 
Heywood,  Dialogue: 

"  For  when  prouender  prickt  them  a  little  tine." 
The  two  words  generally  occur  together.     See  1.  1283. 

1.  1066.  by  lyklynes.  Cf.  Temp,  of  Glas.,  1.  18;  Chaucer,  Am.  Coinpl.  1.  15 
CI.  Tale,  II.,  1.  200,  etc. 

1.  1089.  lowte.     Cf.  ALsop,  Fab.  2,  11.  17-18  . 

"  Whan  sulphur  toward  the  dawenyng 
Lowtith  to  the  oryent"  ; 
Pie7-s  Plow.,  Pas.  iii.,  1.  115: 

"  Knelynge,  Conscience  to  the  kynge  louted." 
See  also  text,  11.  1439,  1925,  vnderlowte  1273. 
Cf.  Browning,  Ring  and  Rook: 

"1  have  looted  low." 

P.  33,  1.  1094.  Peiseueraunce.     The  accent  as  in  Chaucer. 

1.  1095.  hogy.  Cf.  Marlowe,  Tamb.  tlie  Gt.:  "my  hugy  host."  This  was 
Dryden's  usage. 

P.  3^,  11.  1 142-6.  The  way  of  repentance  is  made  clear  by  Chaucer's  Parson  :  "Now 
shalt  thou  understonde  what  bihoveth  and  is  necessarie  to  verray  parfyt 
penitence  ;  and  this  stondith  in  thre  things,  contricioun  of  hert,  confessioun 
of  mouth,  and  satisfaccioun."  The  first,  said  Patience  \n  Piers  Ploiv.  {Vz.%. 
xiv.),  saves  men,  the  second  slays  sins,  the  third  uproots  sin  altogether. 
Contrition  and  Confession  appear  as  two  horses  that  bear  ripened  grain  to 
the  house  of  Unity  (Piers  Plow.  Pas.  xix.).  They  are  good  dames  in 
Hawes'  Past,  of  Pleas.,  giving  sure  passage  to  Purgatory  to  Graunde  Amour. 
They  are  characters  in  the  Moralities.  The  trinal  stairs  in  Dante's  Purga- 
torio  (c.  ix.)  refer  to  these  stages  of  repentance.  All  these  figures  refer  to 
the  creed  of  tlie  Church  as  expounded  for  instance  by  Thomas  Aquinas  in 
his  great  work  Summa  Theologica  (III.  p.  90). 

1.  1 147.  fro  poost  to  pylour.     Cf.  Barclay,  Eclogues: 

"  From  post  unto  piller  tost  shall  thou  be." 

1.  1 154.  Despair  appears  in  Temp,  of  G.  1.  656.  He  was  a  common  figure  in 
the  mediicval  imagination.  Cf.  Spenser's  treatment  of  Despair.  (See  a 
paper  by  Dr.  F.  I.  Carjienter  reported  in  Univ.  of  Chicago  Cal.  Aug.  '95.) 

I.  1 158.  Alpha  cnidOo.  This  occurs  in  the  Creation,  sc.  I.,  York  Plays,  in  the 
address  of  the  Deity  : 

"I  am  Alpha  and  ()." 

P.  35,  1.  1 167.  3(9r(jw=verbal.     Cf.  Chaucer,  Ck.  Tale  1.  204  : 

"  For  he  hath  slayn  my  two  sones,  but  if  God  hem  borwe  " ; 
the  old  play.  World  and  Child  : 

"Some  good  word  that  1  mav  sav 
To  borow  man's  soul  from  blame." 
See  also  Piers  Ploiu.  Pas.  iv,  1.  108-9. 


Notes.  87 

This  word  was  often  used  as  a  noun  as  in  Tern,  of  Glas,  1.  II45  : 

"And  as  for  him  I  will  bene  his  borow," 
and  in  the  phrase  "to  borow"  (^for  a  security). 

1.  1 169.  tenebrusy     Cf.  Hawes'  Past,  of  Pleas,  p.  15,  74  : 

"  Auster  gan  cover  with  clowde  tenebrus"  ; 
"  The  night  was  wete,  and  also  tenebrous." 

1.  1 185.  fly.  This  is  the  reading  of  MS.  B.  A  has  sty  from  stigen,  to 
ascend. 

P.  36,  1.  1204.     bettyr  late  then  tteue):     Cf.  Chaucer,  Ch.  Yeo.  Tale,  1.  399  : 
"  For  bet  than  never  is  late." 

1.  1226.    sotlie.    Cf.  Chaucer,  Pari.  Foit.,  1.  578,  "sothe  sadde"=sober  truth. 

1.  1232.  as  a  pleyer.  Collier  in  a  note  on  this  passage  {Annals  of  the  Stage, 
p.  31)  refers  to  player  as  an  actor,  interpreting  the  line  to  mean  that  Sen- 
suality must  change  his  character  like  an  actor.  But  "  to  drawe  a  draught" 
is  used  of  games  as  chess.     Thus  Chaucer  [Bk.  of  the  Duch,  \.  682)  has 

"  I  wolde  have  drawe  the  same  draughte." 
In  a  work  described  by  Collier  {An.  of  Stage,  p.  63)  entitled  The  Church  of 
Yvell  tnen  atidtuoinen  players  refers  to  gamesters,  dicers,  etc. 
"Player"  would  seem  to  mean  here  "gamester";   though  it  is  possible  that 
"  draught "  may  be  used  here  figuratively  for  "  character  "  as  Collier  suggests,, 

P.  37,  1.  1242.    finaiince.     Cf.  Skelton,  Erie  of  A^h.,  1.  195: 

"  With  thy  bloud  precious  our  finaunce  thou  did  pay  "  ; 
the  same  line  occurs  in  Percy's  Reliques,  I,  p.  125. 

1.  1255.  Reason  in  Microcosm.  Cf.  description  of  Reason  in  the  Romaunt 
of  the  Pose,  U.  2^93  ^(  Jf^f.,  where  she  warns  against  the  follies  of  Love. 
Chaucer's  Parson  says  : 

"For  it  is  soth,  that  God,  and  reasoun,  and  sensualite,  and  the  body  of  man, 
be  so  ordeyned,  that   everich  of   these  four  thinges  schulde  have  lordschipe 
over    that    other,  as    thus :  God   scholde   have   lordschip  over  reasoun,  and 
reasoun  over  sensualite,  and  sensualite  over  the  body  of  man." 
Cf.  Lydgate  Min.  P.,  p.  219  : 

"  Sith  thu  were  wroughte  to  be  celestial, 
Let  reson  brydle  thy  sensualite." 

1.  1256.  recreaunt.  This  was  a  word  which  Knights  uttered  in  acknowledg- 
ing defeat.  "  Yelde  hym  recreaunt"  =  yielded  himself  as  a  defeated  knight. 
The  oath  taken  by  a  combatant  ran  thus:  "Je  suis  prest  de  le  prouver  de 
mon  corps  contre  le  sien,  et  le  rendre  mort  ou  recreant  .  .  .  et  veez  ^y  mon 
gage."  The  customary  form  of  demanding  surrender  was  :  "And  but  thou 
yeeld  thee  as  overcome  and  recreaunt  thou  shalt  die."  Cf.  Sir  Gawayne,  E. 
"E.  T.,  1.  456  : 

"Therfore  com  other  recreaunt  be  calde." 
Piers  /YoTf'.  (Pas.   xv,  1.   133)  has   "yelde   hym   creaunt"  (as  a  believer?); 
"creaunt"  is  sometimes  used  for  recreaunt  in  the  sense  explained  above. 

1.  1267.     astert.     Cf.  Chaucer,  Fr.  Tale,  1.  294: 

"He  seith,  he  may  not  fro  his  deth  asterte." 

P.  38,  1.  1268.  Nature.  Nature  was  given  especial  personification  by  Alanus  de 
Insulis  in  his  Planctus  Natures  (Wright  ed.,  Rec.  Ser.,  pp.  431-456).  Chau- 
cer in  the  Pari,  of  Ponies  describes  her  as  a  Queen  surrounded  by  the  ani- 
mals of  the  earth  and  air  (11.  298-301,  etc.).  In  Langland's  dream  Nature 
appears  and  shows  the  wonders  of  the  world  (Pas.  xi,  1.  311-25).  She  was 
an  empress  in  the  pageant  that  welcomed  Henry  VI.  to  London  (/"/^r  Z^ 
Roy).     See  the  Faerie  Queene  VII,  vii. 


88  Notes.  I 

1.  1274.     shoo  ^Aj7<;'/^=shoe-clolh.     Cf.  Skelton,  El.  Rum,  11.  143-4  : 
"Some  wvth  a  sho  clout 
Bynde  theyr  hcddes  about." 
Browning  his  "clouted  shoon  "  (King  and  Book,  p.  321). 

1.  1299.     li/ere.     Cf.  Koin.  of  the  Rose  1.  3912: 

■'That  almoost  blered  is  myn  yhe  "  ; 
Chaucer,  iV(//^y/.  Tale,\.  148: 

"  Far  al  thy  waytyng,  blered  is  thin  ye." 
See   also   Rv.   Tale,\.  129;  Piers  Flow.  Pr.  1.  74;  Rox.  Ballads  I,  p.    163; 
Milton's  Cotims,  11.  153-6: 

"  To  cheat  the  eye  with  Ijlear  illusion  " ; 
Shaks.  Tarn,  of  Shreiv,  V,  i : 

"  While  counterfeit  supposes  blear'd  thine  evne." 

P«  39>  1-  1311-     astonyed.     Cf.  Tern,  of  Glas,  1.  24: 

"  I  wex  astonyed." 
1.  1 31 7.     ko'we  a  deuyll  7i<ay!     Cf.  Chaucer,  Ml.  Tale.     Pr.,  1.  26  : 

"  Tel  on,  a  devil  way  I  "  ; 
idem,  1.  527  : 

"And  let  me  slepe,  a  twenty  devvl  way"; 
Ch.  Yeo.  Tale,  Pr.  11.  229-30  : 

"And  al  the  cost  on  twenty  deyel  waye 
Is  lost  also  "  ; 
Leg.  ofG.  Worn.,  VI,  1.  292  : 

"  A  twenty  devel  way  the  wynde  him  dryve." 
1.  1327.     longeth.     Cf.  Seerees,\.  1029: 

"  Of  all  such  yertues  as  longe  to  a  kyng." 

P.  40,  1.  1340.     Resydyuacion  =  back-sliding.     The  term  occurs  again  in  Skelton, 
Col.  a.  11.   523-5  : 

"And  of  resydeuacyon 
They  make  interpretacyon 
Of  an  aquarde  facyon." 

P.  41,  1.  1384.     itysshe.     Cf.   Chaucer,  A.  B.  C.  1.    155;  Ho.  of  Fame  11.  489-9  I; 
Temp,  of  Glas  1.  637  : 

"  So  wisse  me  now  what  me  is  best  to  do  "  ; 
Piers  Plow.   Pas.  v,  11.  540-562  : 

"I  shal  wisse  you  witterly  the  weye  to  his  place." 
1.  1386.     as  I gesse.     Cf.   Chaucer,  j9/^.   of  Dnch.  \.  2,5;   Cotnpl.  of  M.\.  195; 
Pari,  of  Foil.  11.  160,  200,  223;    Cant.  Tales,  Pr.  1.  82;  Knighfs  Tale,  1,  192  ; 
Lydgate,  Min.  P.,  p.  54.     Cf.  Dunbar,  Gold.  Targe,  1.  230 : 

"  God  Eolus,  his  bugill  blew  I  gesse." 
1.  1403.     Death   and  dread.     Among  the  Roxburge   Ballads  (I,  p.   312)  is 
one  which  runs  as  follows  : 

"Lament  your  sinnes,  good  people  all,  lament, 
Vou  plainly  see  the  Messenger  is  sent, — 
I  meane  grim  Death,  and  he  doth  play  his  part ; 
He  stands  prepar'd  to  strike  you  to  the  heart." 
This  is  accompanied  by  the  cut  of  a  hideous  skeleton  with  a  dart.     Cf.  Piers 
Plow.  Pas.  XX,  11.  198-200: 

"  And  as  I  sect  in  this  sorwe  I  say  how  kynde  passed. 
And  deth  drowgh  niegh  me,  for  drede  gan  I  quake, 
And  cried  to  kynde  out  of  care  me  brynge." 

P.  43,  1.  1448.     vre.     This  word  occurs  in   French  law  —  mis  en  ure  (Kelham). 
Its  use  was  maintained  in  England  through  the  1 6th  centur)'.     I  find  it  in 
an  early  American  poem,  Wigglesworth's  Day  of  Doom  (1662)  : 
"The  best  of  men  had  scarcely  then 
Their  Lamps  kept  in  good  ure." 


Notes.  89 

1.1455.  sesyne.  A  law  term  denoting  the  ownership  of  property.  To  take 
seizen  refers  to  the  ceremony  of  taking  possession  of  one's  freehold.  Cf.  R. 
of  G.  Chr.  Reign  of  \Vm.  1.^528  : 

"  Ac  wende  him  out  of  Normandie  anon  to  Engelande 
Vorto  nime  hastiliche  seisine  of  is  lande." 
See  Morte  Arthur  (Th.  MS.),  1.  3589. 

1.  1463.  fyn  fast  shut.  I  make  fyn  an  adverb  with  the  force  of  very  or 
completely.  Ihe  word  finliche  in  the  phrase  "finliche  well"  (=  very  well) 
occurs  in  Sir  Bevis  of  Hamioun  1.  4052  ;  also  afin  with  the  same  meaning  in 
1.2577:  "The  beschop  was  glad  afin."  Chaucer  uses  fyn  as  an  adj.  in 
Trail,  and  Cris.  V.  421  :  '"of  fvne  force  "  (=of  very  need).  Cf.  our  use  of 
clean  ^completely,  as  in  "clean  laid  aside,"  and  of  pure  as  "the  pure 
death"  (=  death  itself). 
P,  44  1479.  kerber  wallyd  round  about.  Doctrine's  arbor  is  probably  in  imita- 
tion of  the  Garden  of  Mirth  in  Kom.  of  the  Ease : 

"  And  when  I  had  a  while  goon, 
I  saugt  a  gardyn  right  anoon, 
Ful  long  and  brood,  and  every  delle 
Enclosed  was,  and  walled  welle, 
With  highe  walles  enbatailled, 
Portraied  without  and  wel  entailled 
With  many  riche  portraitures." — 11.  135-141. 
Cf.  the  Tower  of  Doctrine  in  Hawes'  Pastime  of  Pleasure,  written  in  imita- 
tion  evidently  of  Lydgate's  arbor :  Graunde    Amour  is   taught   wisdom  by 
learned  dames,  the  Seven   Sciences.     All   these   may  be  suggestions  of  the 
Noble  Castle  of  Learning  in  Dante's  Inferno  (c.  iv)with  its  scholastic  walls. 

1.  1483.  IVytte.  In  the  homily  of  the  Sawles  Warde  man  is  described  as  a 
house  whose  master  is  Wit.     SVit's  wife  is  named  Will. 

1.  i^qi.  petfyte.     Cf.  Secrees,  II.  365,  387,  273  :     "In  parfight  clernesse." 

1.  1509.  dalyaunce.  Dalyaunce  in  Lydgate  seems  always  to  refer  to  speech. 
See  Schick's  quotations,  notes  p.  91.  In  the  Pilgrimage  of  Man  "longe 
dalyaunce "  translates  the  French  "  long  parlement."  Cf.  Temp,  of  Glas, 
I.  291  : 

"Of  port  benygne,  and  of  daliaunce  (address)  ;" 
yEsop,  Fab.  6,  1.  93  : 

"  That  we  togydre  may  have  oure  daliaunce  ;  " 
Min.  P.,  p.  71  : 

"  Countrefeteth  in  speche  and  daliaunce;" 
Secrees,  1.  2706  : 

"  Lavi'hyng  visage  is  good  in  daliaunce." 

1.  15 12.  myn  ey  gan  I  dresse.     Cf.  Temp,  of  Glas,  1.  850  : 
"Gan  cast  hir  eyen." 

P.  45»  ll-  151 5  ^^  ^^<7-     '^'^  l^^o  walles  was  made  memory,  etc. 

Douglas  evidently  imitates  these  pictures  of  sacred  history  in  his  account  of 
the  reflections  seen  in  the  mirror  of  Venus  (Works  I.,  pp.  57-59) — another 
poetical  device  of  the  same  kind.     See  Introd.,  p.  Ivii. 

1.  1538.  ludyth.  Judith  is  often  mentioned  in  M.  E.  Lit.  Cf.  Chaucer, 
M.ofL.  Tale,%i,\;  March.  Tale,  1.  122;  Monks  Tale,  11.  561-584;  Piers 
Plow.,  Pas.  xvii.,  1.  21,  etc.  The  account  of  the  O.  E.  epic  of  Judith  was 
probably  known  by  the  side  of  the  version  in  the  Vulgate. 

P.  46,  11.  1562  et  seq.  These  pictures  are  drawn  from  the  frescoes  on  monastery 
walls  vhereon  it  was  customary  to  present  the  saints  with  their  traditional 
attributes.  Lydgate's  descriptions  represent  late  traditions — those  of  the 
13th  and  14th  centuries  (note  the  attribute  of  St.  James  =  the  scallop  shell, 
given   liim   after   the    13th  century).     The   attribute  of  Peter  was  the  key; 


Qo  Notes. 

Paul  held  a  sword ;  James  the  Great  was  a  pilgrim  with  a  long  staff,  wear- 
ing a  cape  with  a  scallop  shell  on  his  shoulder  or  hat,  etc.  Other  pictures 
were  the  "  Martyrtloms  "  which  represented  the  manner  in  which  the  saints 
were  slain  :  Thomas  by  a  spear,  Philip  on  the  cross,  James  the  Less  by  a 
club,  Bartholomew  by  flaying,  Simon  and  Jude,  always  together,  by  a  sword 
and  clui),  etc.  There  will  be  remembered  in  this  connection  Albert  DUrer's 
picture  of  St.  Thomas  who  is  seen  holding  a  lance,  and  Angelo's  Last 
Judgment  where  Bartholomew  appears  holding  his  skin  in  one  hand  and 
the  knife  with  which  he  was  flayn  in  the  other.  Many  other  pictures  will 
be  recalled — and  this  is  a  iiecessary  process  in  reading  Lvdgate — of  the 
Apostles  and  Fathers  as  here  displayed.  For  the  emblems  of  the  Apostles 
and  Saints  cf.  Jameson,  Sao:  and  Leg.  Art.  Cf.  the  Ornntliim  \ .  i.,  p.  201 
and  note;   Curs.  Muii.,  p.  1218;  Lyndesay's  Monarche,  11.  2279  et  seq. 

P,  47,  1.  15S3.  Beede.  One  does  not  meet  with  many  late  references  to  Baeda. 
He   is  mentioned   however,  by  Dante   in  Par.  c.  x.,  1.  T31;  and   by  Wyclif 

{Works,  L,  p.  35;  IIL,  p.  477)'. 

1.  1584.  0?ygene.  An  Alexandrine  Greek,  born  A.  D.  185.  Bitter  contro- 
versy arose  regarding  his  views  on  the  final  salvation  of  men,  the  transfor- 
mation of  man's  earthly  bodv  at  the  resurrection,  etc.  His  "errors"  are 
contained  chiefly  in  his  work,  wepVapx^i'.  A  private  "error"  is  also  recorded 
of  Origen  to  which  reference  here  may  be  made.  See  Butler's  Lives  of  Saints, 
ix.,  p   360. 

1.  1589.  Sybyll.  "The  pictures  of  the  Svbils  are  very  common,  and  for  their 
prophecies  of  Christ  in  high  esteem  with  Christians."  —  Sir  Th.  Browne. 
In  the  account  of  Varro  the  sybils  numbered  ten. 

1.  1608.  koiiyd.  Cf.  CJiorl  and  Bird,  187:  "  Hovyng  above  his  hedde " 
(said  of  a  bird). 

1.  1614.  gall.  Gall-trees  were  those  that,  like  the  oak,  bear  bitter  galls. 
Spenser  has  "trees  of  bitter  gall"  {Faery  Queefi,  II.,  vii.,  st.  52). 

P,  48,  11.  1618  et  seq. 

The  whole  discourse  of  Doctrine  is  written  in  the  light  of  Catholic  doctrine 
and  practice.  There  is  a  certain  kind  of  ingenuity  exercised  in  the  handling 
of  the  materials,  but  beyond  a  skillful  presentation  of  doctrine  there  is  not 
the  least  display  of  poetic  genius  in  all  this  part. 

P.  49,  1.  1657.  i?iade  her  hecrdys  on  the  «i?7y  ^1?/*^  =  changed  their  purpose.  Pals- 
grave defines  "new  get"  as  "guise  nouvelle."  Cf.  Chaucer,  Cant.  Tales, 
I'r.,  line  682  : 

"Him  thought  he  rood  al  of  the  newe  get;" 
Ml.  Tale,  1.  136:  (a  kirtil) 

"  Schapen  with  goores  in  the  newe  get ;  " 
Skelton,  Magnif.,  1.  458  : 

"  The  courtly  gyse  of  the  newe  iet." 
Those  who  cut  their  beards   in  the  latest  fashion  had  a  place  in  Barclay's 
Ship  of  Fools  (I.,   p.   35).     Cf.   the   phrase,  "To   make    one's   beard"  =  to 
deceive;  as  in  Chaucer,  Reeves  Tale,\.  176: 

"Yet  can  a  miller  make  a  clerkes  herd." 
Cf.  IIo.  of  Fame,  1.  689;    W.  of  B.  Tale,  Pr.,  1.  361. 

P.  50,  1.  1 7 14.  habtindaunce.     So  in  Chaucer's  Fortune,  1.  29. 

1.  1 7 18.  gryffyng.     Cf.  Secrees,  1.  2373  : 

"  Which  gryffyd  on  stokkys  haue  many  braunchys." 

P.  51,  1.  1728.     Cf.  yEsop,  Fab.  7.  11.  64-5  : 

"  Men  may  at  the  ie  se  a  pref 
Of  this  matere." 


Notes.  9 1 

11.  1737  et  seq.  The  Times.  In  the  Calendar  of  the  Cursor  Miindi  there 
are  seven  ages:  (l)  from  Adam  to  Noah;  (2)  from  Noah  to  Abraham  ; 
(3)  from  Abraham  to  David  ;  (4)  from  David  to  Solomon  ;  (5)  from  Solomon 
to  the  birth  of  Christ ;  (6)  from  the  birth  to  the  death  of  Christ ;  (7)  from  the 
death  of  Christ  to  the  Day  of  Doom,  the  period  of  Antichrist. 
Cf.  also  Wyclif,  Works,  I.,  p.  99. 

Gower  has  a  reading  of  the  Times  similar  to  Lydgate  (Prol.  Conf.  Am.), 
agreeing  especially  in  the  Time  of  War. 

P.  52,  1.  1772.  that ys  to  sey.    Very  common  in  T,ydgate.     Cf.  Temp,  of  Glas,  11.  31 1, 

426,  512,  715,  1124,  etc. 

1.  1784.  prynte  hit  in  thy  mynde.     A  favorite  phrase  with  Lydgate.     Cf.  Min. 

P.,  P-  36. 
P.  53>  1-  1805.  cast  in  a  boon.     Cf.  Chaucer,  Kn.  Tale,  1.  319  : 
"  We  stryve,  as  doth  the  houndes  for  the  boon." 

P.  54,  1.  1S29.  the  lesse  7vorlde.  This  is  Milton's  "less  universe"  {Par.  Reg.,  iv., 
'1.458).  Said  Sir  Th.  Browne  (j'?^//^-.  i^/l?a'.):  "  That  we  are  the  breath  and 
similitude  of  God,  is  indisputable  and  upon  record  of  Hoi)  Scripture;  but 
to  call  ourselves  a  microcosm,  or  little  world,  I  thought  it  only  a  pleasant 
trope  of  rhetorick,  till  my  near  judgment  and  second  thoughts  told  me  there 
was  a  real  truth  therein." 
1.  1844.  dainpnacion.     So  Chaucer  in  Pd.  Tale,  1.  38;  A.  B.  C,  1.  167. 

1.  1852.  inwarde  uyttes.     Man  was  regarded   as  having  five   outward    and 
five  inward  wits.     Cf.  World  atid  Child,  Dods,  1.,  p.  273: 
Age      "Of  the  five  wits  I  would  have  knowing. 
Pres.        P'orsooth,  sir,  hearing,  seeing,  and  smelling, 
The  remenant  tasting  and  feeling : 
These  being  the  five  wits  bodily. 
And,  sir,  other  five  wits  there  been. 
Age.       Sir  Perseverance,  I  know  not  them. 
Pres.      Now,  Repentance,  I  shall  you  ken. 
They  are  the  power  of  the  soul  : 
Clear  in  mind,  there  is  one 
Imagination,  and  all  reason. 
Understanding  and  compassion." 
Hawes,  in  Pastime  of  Pleasure,  enumerates   the  five  inward  wits  as  com- 
mon-wit, imagination,  fancy,  estimation  and  memory.     The  five  senses  per- 
form the  outward  offices,  being  simply  receptive  gates,  but  the  wits  perceive 
and  judge.     From  this  distinction  arose  the  figure  of  the  senses  as  gates,  or 
as  highways  of  the  soul. 

"Thet  inewyt  hvs  the  dore-ward. 

The  doren  wyttes  fyve  "  —  Shoreham,  Per.  Soc,  p.  55. 
"For  tho  (the  five  wits)  be  properly  the  gates, 
Through  which  as  to  the  hert  algates 
Cometh  all  thing  unto  the  feire. 

Which  may  the  mannes  soule  empeire  " —  Conf.  Am.,  I.,  p.  52. 
The   inward   senses  were   then  the  faculties  of  the  mind.     Thus  Lydgate 
says  {Temp,  of  Glas),  11.  380-I : 

'•With  al  my  reson  and  alle  my  ful  mynde,  and  five  wittes." 
The  Five  Senses  were  personated  in  Middleton's   Triumph  of  Truth  (1613). 
They  appeared   in   character  at  the  King's   entry  into  London  in  1603  and 
again  at  the  Lord  Mayor's  Pageant  in  1681  (Bullen). 

The  different  senses  are  enumerated  in  ^Ifric's  Homilies,  O.  E.  Homilies, 
Sawles  Warde,  etc.  Cf.  Piers  Ploiv.,  Pas.  i.,  11.  15-16  ;  Wyclif's  Tracts  (III., 
p.  117);  Tale  of  Mel.;  An  Orysoun  for  sauynge  of  the  'fyve  wyttes  (Vern. 
MS.  E.  E.  T.,  xvii);  Interlude  of  the  Four  Elements;  Lydgate's  Min.  P.,  p. 
253  ;  Faery  Queene  (II.,  xi.,  st.  7);  Fletcher's  Purple  Island;  Bunyan's  Holy 


92  Notes. 

War,  etc.  Cf.  a  modern  book  entitled  The  Five  Gateways  of  Knowledge,  by 
Dr.  Geo.  Wilson,  and  Led.  and  Addresses,  by  Sir  \V.  Thomson,  on  the  Six 
Gateways  of  Knowledge. 

P.  54,  1.  1S55.     stretiies.     Cf.  Temp,  of  G las,  11.  702,  582  : 

"P"or  with  the  stremes  of  hir  eyen  clere." 

1.  185S.  sauHs.  Commonly  found  in  the  phrase  "sauns  faille,"  as  in 
Chaucer,  Ho.  of  Fame,  II.  188,  429;  Man  of  L.  Tale,  1.  403;  the  Court  oj 
Love,  1.  117  ("vvithouten  faille,"  1.  710);  Rob.  of  B.  Chron.,  1.  4507.  Piers 
Plow.  (Pas.  xii,  1.  286)  has  "  saunz  reule; "  Skelton,  Why  Come,  1.  426, 
"saunz  aulter  remedy." 

1.  i860,     blyn.     Cf.  Kob.  of  R.  Chron.,  1.  2263: 

"  Evere  to  brenne  and  nevere  to  blynne  ;  " 

Percy,  Reliq.,  Ill,  p.  46  : 

"  On  thy  striking  doe  not  blinne." 

P.  55,  1.  1872.     wyre.     Cf.  Chaucer,  Ho.  of  Fame,  1.  979: 

"Tho  gan  I  wexen  in  a  were  ;  " 
Rom.  of  the  Rose,  1.  4468  : 

"  Withoute  deceyte  or  ony  were ; " 
Piers  Plow.,  Pas.    xi,  1.  in  ;  xvi,   1.   3  ;    Temp,  of  Glas,  11.  651,  go6  and  see 
Schick's  notes  p.  104.     Cf.  Dunbar's  Man,  sen  thy  Lyfe  is  ay  in  IVeir. 

1.  1886.     daryng  as  a  dastard.     Said  in  irony. 

1.  1887.  Come  o/'=make  an  end.  Probably  our  modern  slang  phrase 
"  come  off."  It  was  in  common  usage  in  M.  E.  Cf.  Chaucer,  Troil.  and 
Cris.,  II,  310: 

"  Com  of,  and  tel  me  what  it  is." 
Temp,  of  Glas,  1.  1272  : 

"Cometh  off  at  ones,  and  do  as  I  haue  seide." 
See   Schick's  notes,  p.    119,  for  further   references;  also   '^sV^W.O'sx,  Magnif., 
1.   103: 

"  Come  of,  therefore,  let  se." 

1.  1887.  thy  wytte  slant  a  crooke.  See  also  11.  19 18,  1 932.  Cf.  Chaucer, 
Ho.  of  Fame,  1.  621  : 

"Although  that  (wit)  in  thy  hede  full  lyte  is;" 
Lydgate,  Chorl  and  Bird,  Min.  P.,  p.  igi  : 

"  Thv  brayne  is  dul,  thy  witte  is  almoste  gone  ; " 
Pie?-s  Plo7v.,  Pas.  i,  1.  138  : 

"'Thow  doted  daffe,'  quod  she,  '  dulle  arne  thi  wittes;'" 
and  cf,  Emerson,  The  Sphinx  : 

"  Dull  Sphinx,  Jove  keep  thy  five  wits." 

1.  1897.     tonne.     Lydgate  has  again  (Min.  P.,  p.  176)  the  rime  tonne,  sonne, 
and  in  Secrees,  11.  249-50.     Referring  to  Diogenes  Lydgate  says  : 
"  Mis  paleys  was  a  litel  poore  tonne." 

P.  S7i  ^-  1952-     as  hlak  as  a  coole.     Other  objects  of  comparison  with   blackness 
were  raven,  crow,  the  devil,  jet,  ink  and  soot.     Cf.  Conf.  Am.,  II,  p.  335  : 
"With  ft'thers  blacke  as  any  cole." 

1.  1953.  cropyn  in  a  mouse  hoole,     Cf.  Skelton,  Why  Come,     11.  289-91  : 
"Our  barons  be  so  bolde, 
Into  a  mouse  hole  thev  wolde 
Rynne  away  and  crepe." 

P.  58,  1.  1997.  my  wyt ys  soo  thynne.  See  1.  896.  Middle  Engl,  writers  were  fond 
of  acknowledging  the  weakness  of  their  wits.  Thus  Chaucer  confesses  in 
the   Prol.  of  the   Tales  (1.  746)  "My  wit  is  short."     His  Marchant  said  (1. 


Notes.  93 

438)  "My  tale  is  doon,  for  my  wit  is  thinne."  Again  the  poet  writes  {Ho. 
of  Fame,  11.  1179-80: 

"  Ne  can  I  not   to  yow  devyse  (Temp,  of  Fame) 
My  wit  ne  may  me  not  suffyse ;" 
and  to  describe  the  beauty  of  his  lady  {B,k.  of  the  Duck.,  1.  898)  : 

"  Me  lakketh  bothe  English  and  wit." 
Lydgate   was   even  more  self-depreciatory  (for  references  see  Temp,  of  Glas 
Introd.  p.  cxl-cxli  and  Secrees,  p.  xx;. 

"Make  his  wittes  thvnne  "  occurs  in  C/i.  Veo.  Tale,  Pr.  1.  189;  cf.  R.  of  B, 
C/irou.  1.  113. 

P.  59,  1.  2008.  knette.     See  line  991  knyt,  1186  knet.     Cf.    Temp,  of  Glas,  1.    1230, 
"  The  cnott  is  knytt." 

P.  60,  1.  2065.  God  knoweth  and  nat  I.     An   allusion  to    Pad's  saying,  II  Cor.  xii, 
2-3- 
1.  2070.  take  the  best,  etc.     Cf.  Chaucer,  N.  Pr.  Tale,  1.  623  : 

"Takith  the  fruyt  and  let  the  chaf  be  stille  ;" 
Conf.  Aman.  1,  Pr.  p.  32  : 

"  The  chaf  is  take  for  the  corne  ;  " 
Lydgate's  Min.  P.  p.  149  : 

"  Cheese  we  the  roosys,  cast  away  the  thorn  ;" 
idem,  p.  173  : 

"Wedyde  the  cokkelle   frome  the  puryd  come;" 
Secrees,  1.  734  : 

"As  vndir  chaaf  is  closyd  pure  corn  ;" 
idem,  1.  1224. 

"Woord  is  but  wynd  ;  leff  woord  and  take  the  dede ;" 
Story  of  Thebes  fol.  370  : 

"Avoiding  the  chaffe  .  .  . 
Enlumining  the  true  piked  graine." 

^  .(i\^\.io']q.  three  enymyes.     The  World  the  Flesh   and  the  Devil  were  figura- 
tively spoken  of  as  foes  or  robbers  or  wild  beasts  or  adverse  winds  etc.     In 

0.  E.  Homilies  (Morris  p.  241)  they  are  described  as  foes  and  again  as 
robbers.  According  to  Boccaccio  the  three  beasts  which  hindered  Dante's 
progress  represented  these  forces.  In  Piers  Plow.  (Pas.  xvi)  these  are  winds 
that  blow  against  the  tree  of  Patience.  Chaucer's  Tale  of  Ale  I.  reads  "Thou 
hast  doon  synne  ageinst  oure  Lord  Crist,  for  certes  the  thre  enemyes  of 
mankinde,  that  is  to  saye,  thy  flessche,  the  feend,  and  the  world,  thou  hast 
y-suffred  hem  to  entre  into  thin  herte  wilfully,  by  the  wyndow  of  thy  body, 
and  hast  nought  defended  thiself  sufficiently  agayns  here  assautis,  and  here 
temptaciouns,  so  that  they  have  woundid  thi  soule  in  fyve  places,  that  is  to 
sayn,  the  dediy  synnes  that   ben   entred  into  thin  herte  by  thy  fyve  wittes." 

"And  thus  it  falleth 
That  thorugh  the  fende  and  the  flesshe  and  the  frele  worlde 
Synneth  the  sadman  a  day  seuene  sythes  "  [P.  PI.  Pas.  viii,  I.  38-44). 
The  Devil  was  thought  to  work  by  Pride,  Wrath  and  Sloth  ;  the  World  by 
Covetousness  and  Envy ;  the  P'lesli  by  Gluttony  and  Lechery.    Hawes  gives 
a  similar  exhortation  in  Past,  of  Pleas: 

"Than  in  your  mynde  inwardly  despyse 
The  bryttle  worlde,  so  full  of  doublenes, 
With  the  vyle  flesshe,  and  ryght  sone  aryse 
Out  of  your  slepe  of  mortal!  hev^mes  ; 
Subdue  the  devill  with  grace  and  mekenes, 
That  after  your  Ivfe  frayle  and  transitory. 
You  may  than  live  in  joye  perdurably." 

1.  2087.  giterdoun.  A  favorite  word  of  Lydgate's.  Cf.  ALsop,  Fab.  3,  1.  64 ; 
Fab.  5.,  11.  21,  25,  315;  f^ab.  6.,  11.  145,  165;  Min.  P.  p.  76,  "a  gwerdonles 
guerdone  ";      Temp,  of  Glass,  11.  806,  1 139  ;  Secrees,  1.  900,  etc. 


94  Notes. 

\.  210$.  denygne  Ihesu.     Cf.    Lydgate's    Testament  Min.    P.    p.    236:     "O 
gracious  Ihesu !     benygne    and   debonayre."     No   one     can    question    the 
piety  of  these  monkish  writers.     Cf.  Havves'  closing,  the  Past,  of  Pleas: 
"Nowe  blessed  lady  of  the  health  eternall, 
The  quene  of  comfort  and  of  heavenly  glory, 
Praye  to  thy  swete  sonne  whiche  is  infmall, 
To  geve  me  grace  to  wynne  the  victory 
Of  the  devill,  the  worlde,  and  of  my  body, 
And  that  I  may  my  selfe  well  apply 
Thy  Sonne  and  the  to  laude  and  magnifie." 

Skelton,  looking  back  upon  such  writers,  especially  upon  Lydgate  and  his 
Assembly  of  Gods,  acknowledges  their  authority  —  those  poets 

"Whyche  full  craftely, 
Vnder  as  couerte  termes  as  could  be, 
Can  touch  a  trouth  and  cloke  it  subtylly 
Wyth  fresshe  vtteraunce  full  sentencvouslv  ; 
Dyuerse  in  style,  some  spared  not  vyce  to  vvryte, 
Some  of  moralyte  nobly  dyde  endyte." 

— Bowge  of  Court,  Pr. 

To  conclude,  the  significance  of  Lydgate  in  the  history  of  literature  I  under- 
stand to  be  this  :  Taking  his  work  in  its  entiret)'  he  seems  to  embody  the  forces 
that  were  shaping  England  during  the  late  Middle  Age  in  a  more  conspicuous 
manner  than  any  other  Middle  English  author.  Chaucer  stands  out,  of  course,  the 
supreme  genius  of  the  period,  original  and  creative,  the  glory  of  the  Court,  the 
herald  of  the  Renaissance.  After  Chaucer,  in  point  of  creativeness,  ranks  Lang- 
land  the  mystic,  the  scholar,  the  churchman,  the  prophet  of  the  Reformation.  Now 
the  progress  of  literary  history  is  often  most  clearly  marked,  as  Mr.  Gosse  well 
maintains,  in  the  less  monumental  figures  of  any  period.  The  very  genius  of 
Chaucer  and  Langland  removed  them  somewhat  from  the  effects  of  environment. 
With  Lydgate  there  is  not  much  question  of  personal  force.  What  is  valuable  in 
his  work  arises  from  his  lack  of  originality  and  very  incapacity  as  a  poet.  He  is 
the  product  of  his  age  —  at  one  time  yielding  himself  to  the  Romantic  tendency, 
spending  his  youth  in  pleasure,  writing  ballads,  romances,  plays  and  histories  for 
the  King  and  Court.  Then  the  love  of  Mother  Church  detains  him,  he  assumes 
the  cowl,  and  lives  and  dies  at  Bury  St.  Edmund.  As  a  result  of  living  in  his 
environment  no  other  early  English  author  can  equal  him  in  the  scope  of  his 
interests.  He  copied  and  translated  everything  that  came  to  his  hand.  His  work 
embraces  ballads,  lyrics,  epics,  allegories,  fables,  moral  romances,  social  satires, 
histories,  philosophical  and  scientific  treatises,  hagiologies  and  devotional  manuals. 
The  Romantic  and  the  Scholastic  blend  in  him  in  this  remarkable  manner. 
Because  of  his  contemporaneity  his  rewards  accrued  to  him  in  his  lifetime.  He 
was  patronized  by  the  Court  and  lived  in  the  favor  of  his  fellow-poets.  Eor  a 
century  his  fame  was  maintained,  and  his  influence  was  even  stronger  than  Chaucer's 
upon  Burgh,  Hawes,  the  Scottish  poets,  and  laureate  Skelton — his  fame  and  influence 
passing  with  the  traditions  that  gave  them  effect. 

In  the  matter  of  language  Lydgate  is  perhaps  more  typical  of  his  period  than 
Chaucer.  Chaucer's  whole  linguistic  system  is  ior  his  time  forced  and  artificial. 
Middle  English  does  not  have  the  regularity  and  certainty  which  Chaucer's  usage 
seems  to  imply.  Not  a  one  of  his  successors  could  support  his  literary  dialect. 
James's  Quair,  purposely  composed  in  the  Chaucerian  manner,  is  artificial  to  the 
extreme.  Lydgate's  poetic  incapacity  compelled  him  to  fall  back  upon  the  current 
speech.  In  short,  in  this,  as  in  all  other  respects,  Lydgate  was  the  immediate 
product  of  his  environment.     He  wrote  not  for  all  time  but  for  an  age. 


CATALOG    OF    PERSONS. 


(The  numbers  refer  to  lines  except  those  marked  st.=  stanza). 


LYDGATE. 


The  poet  performs  a  twofold  function ; 
he  is  one  of  the  prime  movers  in  the 
vision  (v.  especially  his  fear  of  Death, 
St.  277-286)  and  at  the  same  time  the 
conscious  teller  of  the  story,  never 
forgetting  the  "gentle  reader."  (a) 
As  an  actor :  goes  forth  to  the  lake's 
side  and  dreams, St.  i,  2  ;  accompanies 
Morpheus  to  the  Court  of  Minos,  st. 
3-5  ;    attends  the   banquet  given    to 


the  gods,  St.  27-87  ;  a  spectator  on 
the  field  of  battle,  st.  88-210;  at  the 
school  of  Doctrine,  st.  211-290  (fears 
Death,  st.  277-286);  returns  to  his 
bed,  St.  291,  292  ;  awakes  and  writes 
St.  293-296. 

{6)  References  to  himself  as  narrator, 
St.  76,  81,  160,  171,  214,  222,  228, 
229,  230,  294-301. 


THE    DIVINITIES   (at  the  assembly). 


Apollo,  the  God  of  Light,  the  giver  and 
director  of  the  banquet,  st.  24,  25,  27, 
28,  30,  32,  34,  35,  36,  37,  55,  73,  103, 
189;  interpretation  by  Doctrine,  237. 

Atropos,  the  God  of  Death ;  is  met  by 
Discord,  st.  60 ;  makes  complaint  to 
the  gods,  St.  61-71  ;  is  promised  aid 
against  Virtue,  st.  72-75,  81-87; 
threatens  the  gods,  st.  138  ;  is  anger- 
ed at  the  success  of  Virtue,  st.  188- 
192 ;  seeks  the  Lord  of  Light,  st. 
198-199;  is  called  Death,  st.  201  ;  is 
made  master  of  Microcosm,  st.  203, 
207-209;  vanishes,  st.  210;  inter- 
pretation by  Doctrine,  st.  257-260  ; 
makes  Lydgate  to  fear,  st.  277-279  ; 
the  fear  of  Death  explained,  st.  280- 
288. 

Aurora,  the  Goddess  of  the  Dawn,  the 
companion  of  Apollo  at  the  banquet, 

St.  37,  55- 
Bacchus,  the  God  of  Wine,  at  the  banquet, 
St.  51. 


Cerberus, the  Porter  of  Hell;  brings  Eolus 
to  the  Court,  st.  6,  79  ;  to  the  banquet, 
St.  27  ;  is  sent  to  summon  Vice,  st. 
87-88;  porter  of  Hell,  St.  167. 

Ceres,  the  Goddess  of  Corn,  at  the  banquet 
with  Cupid,  St.  42  ;  said  to  be 
influenced  by  Phoebe,  st.  52 ;  inter- 
pretation by  Doctrine,  st.  245. 

Cupid,  the  God  of  Love,  at  the  banquet, 
St.  43. 

Diana,  the  Goddess  of  the  Wood  and  the 
Chase,  complainant  at  the  Court  of 
Minos,  St.  6-1 1,  22,  80  ;^dismisses  the 
case  to  attend  the  banquet,  st.  25-27  ; 
is  persuaded  by  Apollo  to  forgive 
Eolus,  st.  28-34  ;  at  the  banquet  with 
Mars,  St.  38-39 ;  interpretation  by 
Doctrine,  st.  235-239. 

Discord,  the  Goddess  of  .Strife,  comes  to 
the  banquet  but  is  given  no  seat  and 
departs  in  anger,  st.  59-60;  conspires 
with  Atropos,  st.  60-62  ;  interpreta- 
tion by  Doctrine,  st.  257-260. 


95 


96 


Catalog  of  Persons. 


Eolus,  the  God  of  the  Winds,  a  prisoner 
at  the  Court  of  Minos,  st.  6-26,  76- 
80 ;  judgment  is  suspended  for  the 
banquet,  st.  28-35  >  is  forgiven,  pro- 
vided he  give  aid  to  Atropos  against 
Virtue,  st.  75,  81-84;  interpretation 
by  Doctrine,  st.  233-234. 

Fortune,  the  Goddess  of  Chance,  at  the 
banquet,  st.  46 ;  interpretation  by 
Doctrine,  st.  246. 

Isis,  the  Goddess  of  Fruit,  at  the  banquet, 
St.  48  ;  interpretation  by  Doctrine,  st. 
246. 

Juno,  the  Goddess  of  Riches,  at  the  ban- 
quet, St.  40. 

Jupiter,  the  God  of  Wisdom,  at  the  ban- 
quet, St.  39. 

Mars,  the  God  of  War,  at  the  banquet,  st. 
38  ;  agrees  to  assist  Atropos,  st.  73- 

74- 

Mercury,  the  God  of  Language,  at  the 
banquet,  St.  53 ;  agrees  to  assist 
Atropos,  St.  74. 

Minerva,  the  Goddess  of  War,  or  of  Har- 
vest, at  the  banquet,  st.  50. 

Minos,  the  Judge  of  Hell,  in  Court,  st.  4, 
6-26,  79-80. 

Morpheus,  the  Shewer  of  Dreams  (dwells 
in  Fantasy  1.  35) ;  leads  Lydgate  to 
the  Court  of  Minos,  st.  2-5,  79,  to  the 
palace  of  Apollo,  st.  27  ;  is  sent  to 
warn  Virtue,  st.  103-107  ;  is  given 
care  of  the  five  gates  of  Micro- 
cosm, St.  184-186;  conducts  Lydgate 
to  the  School  of  Doctrine,  st.  210- 
212,  223,  231,  268,  270,  277  ;  inter- 
pretation by  Doctrine,  st.  265  ;  leads 
Lydgate  to  his  bed,  st.  290-292. 


Neptune,  the  God  of  the  Sea,  complainant 
at  the  Court  of  Minos,  st.  6-7,  12- 
20,  80 ;  dismisses  the  case  to  attend 
the  banquet,  st.  25-27 ;  accepts 
rhrebe  as  arbitress,  st.  34-35  ;  at  the 
banquet,  st.  49 ;  said  to  be  ruled  by 
Phcebe,  St.  52;  agrees  to  aid  Atropos, 
St.  73 ;  is  requested  by  Phoebe  to  for- 
give Eolus  and  complies,  st.  82-83 '. 
interpretation  by  Doctrine,  st,  235- 
239- 

Othea  (Athena),  the  Goddess  of  Wisdom, 
at  the  banquet,  st.  44  ;  counsels  the 
gods,  St.  75  ;  is  referred  to,  st.  82. 

Pan,  the  God  of  Shepherds,  at  the  ban- 
quet, St.  47  ;  serves  as  minstrel,  st. 
58 ;  interpretation  by  Doctrine,  st. 
246. 

Phcebe,  the  Goddess  of  Waters,  the  Moon  ; 
the  mistress  of  Neptune,  st.  35  ;  at 
the  banquet,  st.  52  ;  entreats  Neptune, 
St.  81-83. 

Pluto,  the  God  of  Hell,  father  of  Vice,  st. 
86-87  ;  at  the  Court  in  Hell,  st.  4,  6- 
24  ;  dismisses  the  Court  for  Apollo's 
banquet,  st.  24-27 ;  declares  the 
complaint  against  Eolus,  st.  29  ;  at 
the  banquet,  st.  45  (how  Eolus  came 
into  Pluto's  power,  st.  76-79);  sends 
for  his  son  Vice  to  overthrow  Virtue, 
S5-87  ;  commands  Vice,  st.  138;  "On 
in  Pluto's  name,"  1.  1077. 

Saturn,  the  God  of  Cold,  at  the  banquet, 
St.  40,  41  ;  agrees  to  assist  Atropos, 
St.  74. 

Venus,  the  Goddess  of  Love,  at  the  ban- 
quet, St.  54. 


POETS  AND    PHILOSOPHERS. 

(waiters  at  the  banquet,  ST.  56-58;  INTERPRETATION  BY  DOCTRINE  = 
FEIGNERS  OF  FABLES,  ST.  241-249.) 

Albert,  398.  Dorothe,  391. 

Arystotyll,  390.  Dyogenes,  391,  1397,  1399. 

Aueroys,  394.  Esculapion,  396. 

Auycen,  394.  Euclyde,  398. 


Catalog  of  Persons. 


97 


Galyen,  395. 
Hermes,  393. 
Ipocras,  395. 
Messehala,  392. 
Omere,  397. 
Orace,  397. 
Orpheus,  400. 
Ouyde,  397. 


Plato,  392. 
Saphyrus,  393. 
Socrates,  392. 
Sortes,  393. 
Sychero,  390. 
Tholome,  391. 
Virgyle,  397. 


THOSE  SLAIN  BY  ATROPOS  WITH  HIS  DART  (sT.  64-69) 


Achilles,  474. 

Alexaunder,  464. 

Artour,  466. 

Cesar,  lulius,  465. 

Charles,  the  Noble,  467. 

Cirus,  474. 

Cosdras,  473. 

Dauid,  466. 

Ector  of  Troy,  463. 


Godfrey  of  Boleyn,  469. 
Hanyball,  473. 
Hercules,  472. 
lason,  472. 
losue,  466. 

ludas  Machabee,  468. 
Nabugodonozor,  470. 
Pharao,  471. 
Sypio,  473. 


THE  MORALITIES. 


Virtue,  Christ's  Champion  (1.  1103).  At- 
ropos  complains  to  the  gods  that 
Virtue  escapes  his  dart,  st.  69-70  ; 
the  gods  conspire  to  conquer,  st.  72- 
75,  81-87;  is  warned  by  Morpheus 
to  prepare  for  the  battle  with  Vice, 
St.  103-105 ;  gathers  his  hosts,  St. 
107-133  ;  hastens  to  the  field  Micro- 
cosm, st.  135  ;  charges  his  men  to  be 
guided  by  Grace,  st.  136 ;  gives 
knighthood  to  fourteen  captains ; 
sends  embassadors  to  Freewill ;  en- 
gages in  battle,  st.  148-162;  is  com- 
pelled to  retreat,  st.  152;  returns  to 
the  field,  St.  160;  overthrows  Vice  with 
the  help  of  Preseverance,  st.  162;  is 
rewarded  and  blessed  by  Predestina- 
tion.st.  168-169;  thanks  God  for  the 
victory,  st.  1 70  ;  is  sought  for  by  some 
of  Vice's  host,st.  171-174  ;  seeks  rec- 
ompense from  Freewill,  st.  174-179  ; 
puts  Reason  and  Freewill  in  charge 
of  Microcosm,  st.  180;  charges  Sen- 
suality to  be  guided  by  Sadness,  st. 
1 8 1- 1 83  ;  gives  to  Morpheus  the  care 


of  the  five  gates,  st.  184-186;  returns 
to  his  castle,  St.  187  ;  (Apollo  informs 
Atropos  that  Virtue  is  not  in  his 
jurisdiction,  st.  190);  sends  messen- 
gers to  Microcosm,  st.  197  ;  prepares 
the  field  against  the  coming  of  Death, 
St.  204-207 ;  is  exalted  above  the 
firmament,  st.  210;  interpretation  by 
Doctrine,  st.  261-266  ;  the  moral,  st. 
297-301. 

Virtue's  host,  st.  109-132,  pauses  under 
the  Sign  of  the  Rood,  st.  149  ;  is  pro- 
tected by  the  Shield  of  the  Holy  Trin- 
ity, St.  150. 

Imaginacion,  messenger  of  Virtue,  748, 

757- 
Messengers  = 

Prayer,  1377. 

Fastyng,  1377. 

Penaunce,  1377. 

Almesdede,  1378. 
Baptyme,  the  leading  captain,  951,  loSi, 

1090,  1105,  1198,  1211,  1216. 
Perseueraunce,  captain  of  the  rearguard, 

1094,  1115,  1125,  II29. 


98 


Catalog  of  Persons. 


Constaunce,  1128. 

Knights,  guic'es  of  Virtue's  car= 

Kyghtwysnes,  795,  1385,  1394,  1401, 

1418. 

Prudence,  796. 

Streyngth,  797. 

Temperaunce,  798. 
Seven  chief  captains=: 

Humylyle,  801,  1142. 

Charyte,  804,  1435. 

Pacyence,  808. 

Lyberalyte,  811. 

Abstynence,  814. 

Chastyte,8i8. 

Good  Besynesse,  821. 
Embassadors  sent  by  Virtue  to  Freewill  = 

Reson,  998. 

Discresion,  998. 

Good  Remembraunce,  998,  1452. 
Minor  captains  dubbed  knights  by  Virtue 

(14)  = 

Feythe,  986,  1082,  1089,  1105,  1196, 

1208,  1210,  1435. 

Hope,  986,  1082,  1089,  1 105,  1 196, 

1435- 

Mercy,  986,  1194. 
Trouthe,  986. 
Ryght,  986. 

Resystence  of  Wrong,  987. 
Confession,  988. 
Contricion,  988. 
Satisfaccion,  988. 
Verrey  Drede  of  God,  989. 
Performyng  of  Penaunce,  989. 
Perfeccyon,  990. 
Konnyng,  990. 
Good  Dysposicion,  990. 
The  minor  captains  led   by  Grace;     1st 
group  (57)  = 
Grace,  853,  948. 
Trew  Feythe,  828. 

Hoope,  828,  986,  1082,  1089,  1 105, 
I196,  1435. 
Mercy,  828,  986. 
Peese,  828. 
Pyte,  828. 
Ryght,  829. 
Trowthe,  829,  986. 


Mekenesse,  829. 

Good  Entent,  829. 

Goodness,  830. 

Concorde,  830. 

Parfyte  Vnyte,  830,  1082,  1 105. 

Honest  Trew  Loue,  831. 

Symplycyte,  831. 

Prayer,  832,  1377. 

Fastyng,  832,  1377. 

Preuy  Almysdede,  832,  1 378. 

Artycies  of  the  Crede,  833. 

Confession,  834,  988,  II43,  1429. 

Contrycion,  834,  988,  1 145,  1429. 

Satysfaccion,  834,  988,  1146,  1429. 

Sorow  for  Synne,  835,  1430. 

Gret  Repentaunce,  835,  1430. 

Foryeuenes  of  Trespas,  836. 

Good  Dysposicion,  836,  990,  1431. 

Resystence  of  Wrong,  837,  987. 

Performyng  of    Penaunce,  837,  989, 

1148,  1377,  1432. 

Hooly  Deuocion,  838,  1431. 

Good  Contvnuaunce,  838. 

Preesthood,  839,  1424,  1426. 

Sacramentes,  839  ;  the  Sacrament  of 

Eukaryst,  1428,  1439;  Holy  Unccion, 

1444. 

Sadnesse,    840,     1233,     1265,     1279, 

1349,  1355,  1361,  1374,  1380,  1436. 

Commaundementes,  840. 

Sufferaunce  in  Trowble,  84 1. 

Innocencv,  841. 

Clennesse,  842. 

Continence,  842. 

Virginite,  842. 

Kyndnesse,  843. 

Reuerence,  843. 

Curtesy,  843. 

Content,  844. 

Plesyd  with  Pyteous  Pouerte,  844. 

Entendyng  Well,  845. 

Mynystryng  Equyte,  S45. 

Hooly  Indyfferency,  846. 

Laboryng    the    Seruyce    of    God    to 

Multyply,  847. 

Refuse  of  Rychesse,  848. 

Perfeccion,  849.  990. 

Parfyte  Contemplacion,  S49. 


Catalog  of  Persons. 


99 


Relygyon,  850. 

Profession  well  kept  in  Memory,  850. 

Verrey  Drede  of  God,  851  (989). 

Holy  Predycacion,  851. 

Celestiall  Sapience,  852. 

Goostly  Inspiracion,  852. 
Minor    captains    led    by    Cunning ;     2d 
group  (17)  = 

Konnyng,    854,    872,  876,   931,   990, 

I105. 

Cramer,  855- 

Sophystry,  855. 

Naturall  Philosophy,  856. 

Logyk,  856. 

Rethoryk,  856. 

Arsmetry,  857. 

Geometrv,  857. 

Astronomy,  857. 

Canon,  858. 

Cyuyle,  858. 

Musyk,  858. 

Theology,  859. 

Physyk,  859. 

Moralizacion  of  Holy  Scripture,  860. 

Poetry,  861. 

Drawyng  of  Picture,  861. 
Minor  captains  ;  3d  group  (9)  = 

Moderat  Dyete,  885. 

Wysdom,  885. 

Euyn  Wyght  &  Mesure,  886. 

Ware  of  Contagious  Geere,  886. 

Lothe  to  Offende,  887. 

Louyng  ay  to  Lere,  887. 

Worshyp,  888. 

Profyt,  888. 

Myrthe  in  Manere,  888. 
Commons  with    Virtue,   numbering   one- 
tenth  of  Vice's  host  = 

Doctours,  897. 

Prestes,  899. 

Confessours,  899. 

Declarers  of  Holy  Scripture,  900. 

Rebukers  of  synne,  901. 

Fysshers  of  fowles,  902. 

Lovers  of  clennes,  903. 

Dyspysers  of  veyn  &  worldly  ryches, 

903- 

Prelates  (pesyble),  904. 


Gouernours  (iustyciall),  904. 
Founders  of  churches,  905. 
Peeres  (mercyfull),  905. 
Reformers  of  wrong,  906. 
Merchauntes  (well  menyng),  908. 
Artyfyceres  (trew),  908. 
Vyrgyns,  909. 
Innocentes,  909. 
Matronys  (hooly),  910. 
Contynentes,  910. 
Pylgryms,  911. 
Palmers,  911. 
Laborers  (trew),  911. 
Hooly  Heremytes,  912. 
Goddes  Solycitours,  912. 
Menkes,  913. 

Freres  (well  dysposyd),  913. 
Chanons,  914. 
Nonnes,  914. 

Professours  (feythfull),  914. 
Coniugatoures    of    worldly    people, 
915. 

Louers  of  Cryst,  916. 
Confounders  of  yll,  916. 
All  that  to  godward  yeue  her  good 
wyll,  917. 

Mayntenours  of  ryght,  918. 
Verrey  Penytentes,  918. 
Distroyers  of  errour,  919. 
Causers  of  Vnyte,  919. 
Performers  of  mercy  and  pyte,  92 1. 
Contemplatyf  peple,  922. 
Vyce,  son  of  Pluto,  st.  86,  87  ;  summoned 
by  Pluto  to  do  battle  against  Virtue, 
St.  87,  88;  leads  towards  the  field  of 
Microcosm,  st.  137-139;    is  charged 
by  Pluto  to  overthrow  Virtue,  st.  138 ; 
dubbs  fourteen  knights;    sends  em- 
bassadors to  Freewill,  st.  144  ;  sends 
Sensuality  into  the   field    to   scatter 
evil  seeds,  st.   146-147;   engages  in 
battle,  St.  149-150;    is  reinforced  by 
Freewill,  st.  151-152;   causes  Virtue 
to  retreat,  st.  152-155  ;  is  overthrown 
by  Virtue,    st.    160-162;    leaves   the 
field  by  a  private  gate  and  meets  with 
Despair,    st.    165;    is   driven  to  tor- 
ment   by   Prescience,    st.     166-168; 


Catalog  of  Persons. 


interpretation  by  Doctrine,  st.  261- 

266  ;  moral,  st.  297-298. 
Vice's  host,  st.  89-103. 
Oryginal  cryme= 

Messenger  of  Vice,    776,  781,    950, 

955- 
Seven  chief  captains=: 

Pryde,  621. 

Enuy,  622, 

Wrethe,  624. 

Couetyse,  626. 

Glotony,  628. 

Lechery,  630. 

Slowthe,  631. 
Embassadors  sent   by  Vice  to  Freewill  = 

Temptacion,  1004. 

Foly,  1004. 

Sensualyte,  1004. 
Minor  Captains  dubbed  Knights  by  Vice 

(14)  = 

Falshood,  974,  643. 
Dyssymulacion  974,  636. 
Symony,  975,  636. 
Vsure,  975,  644. 
Wrong,  975,  645. 
Kebawdy,  975,  648. 
Malyce,  976,  640. 
Deceyte,  976,  647. 
Ly,  976,  644. 
Extorcion,  976,  637. 
Periury,  977,  644. 
Diffidence,  977,  652. 
Apostasy,  977,  657. 
Boldnesse  in  Vll,  978,  648. 
The  Minor  Captains  (75)  = 
Sacrylege,  636. 
Symony  636,  975. 
Dyssimulacion,  636,  974. 
Manslaughter,  637. 
Mordre,  637, 
Theft,  637. 
Extorcion,  637,  976. 
Arrogaunce,  638. 
Presumpcion,  638. 
Contumacy,  638. 
Contempcion,  639. 
Contempt,  639. 
Inobedience,  639. 


Malyce,  640,  976. 
Frowardnes,  640. 
Gret  lelacy,  640. 
Woodnesse,  641. 
Hate,  641. 
Stryfe,  64 1. 
Impacience,  641. 
X'nkyndnesse,  642. 
Oppression,  642. 
Wofuil  Neglygence,  642. 
Murmour,  643. 
Myschyef,  643. 
Falshood,  643,  974. 
Detraccion,  643. 
Vsury,  644,  975. 
Periury,  644,  977. 
Ly,  644,  976. 
Adulacion,  644. 
Wrong,  645,  975. 
Rauyne,  645. 
Vyolence,  645. 
False  lugement,  646. 
Obstynacy,  646. 
Dysseyte,  647,  976. 
Dronkenes,  647. 
Improuydence,  647. 
Boldnes  in  Vll,  648,  978. 
Foule  Rybaudy,  648,  975. 
Fornycacion,  649. 
Incest,  649. 
Auoutry,  649. 
Vnshamefastnes,  650. 
Prodygalyte,  650. 
Blaspheme,  651. 
Veynglory,  651. 
Worldly  Vanyte,  65 1. 
Ignoraunce,  652. 
Diffydence,  652,  977. 
Ipocrysy,  652. 
Scysme,  653. 
Rancour,  653. 
Debate,  653. 
Offense,  653. 
Heresy,  654. 
Errour,  654. 
Idolatry,  654. 
New  Fangylnes,  655. 
False  Pretense,  655. 


Catalog  of  Persons. 


lOI 


Inordinat  Desyre  of  Worldly  Excel- 

lense,  656. 

Feynyd  Pouert,  657. 

Apostasy,  657,  977. 

Disclaundyr,  658. 

Skorne,  658. 

lelousy,  658. 

Hoordam,  659. 

Bawdry,  659. 

False  Mayntenaunce,  659. 

Treson,  660. 

Abusion,  660. 

Pety  Brybery,  660. 

Vsurpacion,  661. 

Horryble  Vengeaunce,  661. 

Idylnesse,  666. 
Captains  refused  by  Virtue  who  enter  the 
service  of  Vice  (st.  124-126)  = 

Nygromansy,  867. 

Geomansy,  868. 

Magyk,  868 

(Glotony),  868. 

Adr3-omancy,  869. 

Ornomancy,  869. 

Pyromancy,  869. 

Fysenamy,  870. 

Pawmestry,  870. 
The  Commons  with  Vice  led  by  Idleness^ 

Bosters,  673. 

Braggars,  673. 

Brybores,  673. 

Praters,  674. 

Fasers,  674. 

Strechers,  674. 

Wrythers,  674. 

Shakerles,  675. 

Shaueldores,  675. 

Oppressours,  676. 

Crakers,  676. 

Meyntenours  of  querelles,  677. 

Lyers,   677. 

Theues,  678. 

Traytours,  678. 

Herytykes,  678. 

Charmers,  679. 

Sorcerers,  679. 

Scismatykes,  679. 

Symonyakes,  680. 


Vsurers,  680. 
Multyplyers,  681. 
Coyn  wasshers,  681. 
Coyn  clyppers,  681. 
Vsurpers,  682. 
Extorcioners,  682. 
Bakbyters,  683. 
Closers,  683. 
Flaterers,  683. 
Murmurers,  684. 
Claterers,  684. 
Tregetours,  685. 
Tryphelers,  685. 
Feyners  of  tales,  685. 
Lurdeyns,  686. 
Pykers  of  males,  686. 
Rowners,  687. 
Uagaboundes,  687. 
Forgers  of  lesynges,  687. 
Robbers,  688. 
Reuers,  688; 
Ryfelers,  688. 
Choppers  of  churches,  689. 
Fynders  of  tydynges,  689. 
Marrers  of  maters,  690. 
Money  makers,  690. 
Stalkers  by  nyght,  691. 
Euesdroppers,  691. 
Fyghters,  692. 
Brawlers,  692. 
Brekers  of  lofedayes,  692. 
Getters,  693. 
Chyders,  693. 
Causers  of  frayes,  693. 
Tytyuyllys,  694. 
Tyrauntes,  694. 
Turmentoures,  694. 
Apostates,  695. 
Relygyous  dyssymulers,  695. 
Closshers,  696. 
Carders,  696. 
Hasardoures,  696. 
Tyburne  coloppys,  697. 
Pursekytters,  697. 
Pylary  knyghtes,  698. 
Double  tollyng  myllers,  698. 
Tapsters,  699. 
Hostelers,  699. 


I02 


Catalog  of  Persons. 


Hoores,  700. 
Baudys,  700. 
Blasphemers,  701. 
Ipocrytes,  701. 
Brothelles,  702. 
Brokers,  702. 
Swerers,  702. 
Dryuylles,  703. 
Dastardes,  703. 
Dyspysers  of  ryghtes,  703. 
Honiycydes,  704. 
Poyseners,  704. 
Morderers,  704. 
Skoldes,  705. 
Caytyffys,  705. 
Clappers,  705. 
Idolatres,  706. 


Enchauntours,  706. 
Kenegates,  706. 
Ambidextres,  707. 
Sekers  of  debates,  707. 
I'seudo  prophetes,  708. 
Sodomytes,  708. 
Quelmers  of  chyldren,  709. 
Fornycatours,  709. 
Wetewoldes,  710. 
Auouterers,  711. 
Auauntours  of  syn,  71 1. 
Clappers,  712. 
Makers  of  clamours,  712. 
Vnthryftys,  713. 
Vnlustes,  713. 
Luskes,  714. 
Loselles,  714. 


IN   THE    FIELD   OF    MICROCOSM  (ms  =  macrocosm). 


The  Field  :  is  named  Microcosm,  932  ;  in 
the  midst  =  Conscience,  934,  Syn- 
deresys,  937  ;  its  lord  =  Freewill,  st. 
143 ;  approached  by  five  highways 
open  to  the  Vices  and  Virtues,  st.  135  ; 
interpretation  by  Doctrine,  st.  262, 
265. 

The  battle :  the  field,  first  entered  by 
Original  Crime,  st.  11 1  =  driven  out 
by  Baptism,  st.  112  ;  sowed  with  evil 
seeds  by  Sensuality,  st.  146-148;  the 
battle  between  the  vices  and  virtues, 
St.  148-162  (won  by  Perseverance,  st. 
157-162). 

Freewill,  Lord  of  Microcosm,  st.  143; 
receives  embassadors  from  Virtue,  st. 
143,  from  Vice,  st.  144 ;  gives  an 
ambiguous  answer,  st.  145  ;  takes  the 
part  of  Vice,st.  151-152,  155;  repents 
and  seeks  the  counsel  of  Conscience, 
St.  163;  is  sent  to  Humility,  Confes- 
sion, Contrition,  Satisfaction  and  Pen- 
ance, St.  164;  appears  before  Virtue, 
St.  174;  blames  Sensuality,  st.  175- 
176;  in  recompense  yields  Microcosm 
to  Virtue,  St.  178-179  ;  is  made  bailiff 
under  Reason,  st.  180. 

Prescience,   sent   from   above   the  firma- 


ment by  Alpha  and  Omega  (v.  1. 1 1 58, 
1 176,  1467)  to  punish  Vice,  st.  166- 
167. 

Predestinacion,  sent  to  reward  Virtue,  st. 
168-169;  they  vanish,  st.  170. 

Vice's  host ;  scourged  by  Prescience,  st. 
167  ;  some  seek  Peace,  Mercy,  Faith, 
Hope,  Baptism,  Confession,  Con- 
science, Circumcision,  st.  171-174. 

Sadnesse,  takes  Sensuality  prisoner,  st, 
177  ;  is  given  the  guidance  of  Sensu- 
ality in  Microcosm,  St.  181,  1S3,  193; 
with  Reason  clears  Microcosm  of  the 
evil  weeds  of  Sensuality,  st.  195  ;  with 
Reason  prepares  the  field  for  the 
coming  of  the  Lord  of  Light,  st.  206. 

Reason,  rules  in  Microcosm,  st,  180,  187, 
193,  195,  197,  206. 

Nature  (has  jurisdiction  over  living  creat- 
ures, St.  65,  69,  190 ;  has  "carnal 
might,"  1.  1 381)  requires  that  Sensu- 
ality be  given  his  liberty,  st.  182;  is 
powerless  to  help  Atropos  against 
Virtue,  st.  194. 

Morpheus,  is  given  charge  of  five  gates 
of  Microcosm,  st.  185-186, 

Atropos,  resolves  to  enter  the  service  of 
God,  St.    191 ;    inquires  the    way    to 


Catalog  of  Persons. 


103 


Righteousness,  st.  198,  199;  is  called 
Death,  st.  201 ;  is  given  power  in 
Microcosm,  St.  203,207-209;  vanishes, 
St.  210. 


The  Lord  of  Light,  received  in  Microcosm, 

St.  204-206. 
Resydyuacion,  enters    Microcosm    but    is 

repulsed,  st.  192-195  ;  interpretation 

by  Doctrine,  st.  266. 


THE    ACCORD    OF    REASON   AND    SENSUALITY. 


Reason,  an  embassador  of  Virtue  and 
ruler  in  Microcosm ;  Lydgate  muses 
how  he  may  make  Reason  and  Sensu- 
ality to  accord,  st.  i ;  Reason  is  sent 
by  Virtue  as  an  embassador  to  Free- 
will, St.  143 ;  has  no  fear  of  Sensu- 
ality, St.  176;  is  given  charge  of 
Microcosm,  St.  180  ;  has  guard  over 
Sensuality,  st.  187,  193  (v.  266);  is 
superior  to  Nature,  st,  194  ;  with  Sad- 
ness clears  Microcosm  of  weeds,  st. 
195;  is  directed  by  Prayer,  Fasting, 
Penance  and  Almsdeed  st.  197  ;  shows 
Atropos  the  way  to  Righteousness, 
St.  198-199;  with  Sadness,  cleanses 
the  field  against  the  coming  of  the 
Lord,  St.  206  ;  comes  with  Sensuality 
to  Doctrine  to  clear  up  Lydgate's 
doubt,  St.  276-279 ;  Reason  and 
Sensuality  agree  as  to  the  fear  of 
Death,  st.  280-282  ;  vanishes,  st.  283  ; 
interpretation  of  the  concordance  by 
Doctrine,  st.  287-288. 


Sensuality,  an  embassador  of  Vice  to  Free- 
will, and  an  ally  of  Nature  ;  Lydgate 
muses  how  he  may  make  Sensuality 
and  Reason  to  accord,  st.  i ;  Sensu- 
ality is  sent  by  Vice  as  embassador 
to  Freewill,  st.  144 ;  sows  evil  seeds 
in  Microcosm,  st.  146-148,  153;  is 
charged  with  corrupting  Freewill,  st. 
176;  taken  prisoner  by  Sadness  and 
brought  to  Virtue,  st.  177;  is  placed 
under  the  guidance  of  Sadness,  st. 
180-181  ;  his  liberty  plead  for  by 
Nature,  st.  182;  is  denied  freedom  in 
Microcosm,  st.  183;  guarded  by 
Reason,  st.  187  ;  meets  with  Residiva- 
tion  but  can  do  no  evil,  st.  193,  194; 
his  evil  weeds  cut  down  by  Reason 
and  Sadness,  st.  195;  enters  with 
Reason  the  School  of  Doctrine  to 
clear  up  Lydgate's  doubt,  st.  276- 
279 ;  agrees  with  Reason  as  to  the 
fear  of  Death,  st.  281  ;  vanishes,  St. 
283 ;  interpretation  of  the  concord 
by  Doctrine,  st.  287-288. 


IN   THE    SCHOOL   OF    DOCTRINE,    st.    211-290. 
(a  four-square  arbor). 


Wytte,  chief  porter,  st.  212. 

Teachers  of  the  people  = 

Dame  Doctryne,  st.  213-214,  st.  229- 
231 ;  as  interpreter,  st.  232-288. 


Holy  Texte,  st.  215. 
Close,  St.  215. 
Moralyzacion,  st.  215. 
Scrypture,  st.  215,  the  Scribe. 


I04 


Catalog  of  Persons. 


PICTURED    ON    THE    WALLS  : 

1ST   AND    2D    WALLS  :    TIMES    OF    DEVIATION    AND    REVOCATION. 

(The  false  gods  are  not  here  described). 


K  supporting  Moses'  arms. 


Adam,  1521. 

Eue,  1 52 1,  holding  an  apple. 

Noe,  1522,  in  a  ship. 

Abraham,  1522,  holding  a  flintstone. 

Isaac,  1523,  bound  on  a  mount. 

lacob,  1524,  sleeping  by  a  ladder. 

Joseph,  1526,  in  a  cistern. 

Moyses,  1527,  with  two  tables. 

Aaron,  1528, 

Vrre,  1528, 

Ely,  1529,  in  a  burning  car. 

Elyze,  1530,  clad  as  a  hermit. 

Dauid,  1 53 1,  with  a  harp  and  stone  sling. 

leremy,  1532. 

Ezechiell,  1532. 

Danyell,  1533,  in  a  lion's  den. 

Abacuc,  1534. 

Mychee,  1534. 

Malachy,  1534. 

3D    WALL  =  TIME    OF 
Petyr,  1 562,  with  keys. 
Poule,  1563,  with  a  sword, 
lames,  1563,  with  a  scallop. 
Thomas,  1564,  with  a  spear. 
Phylyp,  1565. 
lames  the  lesse,  1566. 
Bartylmew,  1567,  all  flayn. 
Symon,  1568. 
Thadee,  1568. 
Mathy,  1569,      ) 
Barnabe,  1569,  S  ^''^^'''"^  '°''- 
Marke,  1570,  a  lion  holding  his  book. 
Mathew,  1571,  like  an  angel. 
Luke,  1573,  a  calf  holding  his  book, 
lohn,  1574,  with  a  cup  and  palm   in   his 
hand,  an  eagle  holding  his  book. 


lonas,  1535,  coming  out  of  a  whale's  body. 

Samuell,  1536,  in  a  temple. 

Zakary,  1536,  by  an  altar. 

Osee,  1538,  )   conspiring  the  death  of 

ludyth,  1538,      )   Holofernes. 

Salamon,  1539,  dividing  a  child  with  his 

sword. 
Melchisedech,  1543,   offering   bread   and 

wine, 
loachym,  1545, 
Anne,  1545, 
lohn  Baptyst,  1547,  in  a  desert. 


at  the  golden  gate. 


Sodechy,  1549, 

Amos,  1550, 

Sophony,  1 55 1. 

Neemy,  1552. 

Esdras,  1552. 

loob,  1553,  as  an  impotent. 

Thoby,  1554,  as  patient. 


with  faces  toward 
Sophony. 


RECONCILIATION. 


>  as  doctors. 


Gregory,  1576, 

lerome,  1576, 

Austyn,  1576, 

Ambrose,  1576, 

Bernard,  1578. 

Anselme,  1578. 

Thomas  of  Alquyn,  1579. 

Domynyk,  1579. 

Benet,  1580. 

I  lew,  15S0. 

Martyne,  1581. 

lohn,  1581. 

Crysostom,  1582. 

Beede,  1583. 

Orygene,  1584. 

Sybyli,  1589. 

Andrew,  1595,  with  a  cross. 


Catalog  of  Persons. 


105 


4TH    WALL  =  TIME    OF    PILGRIMAGE,    OR    DANGEROUS    PASSAGE,    OR    OF    WAR. 

(See  the  battle  of  the  vices  and  virtues.) 


DAME    DOCTRINE. 

Dame  Doctrine,  interpreter  of  the  vision, 
summons  Lydgate  to  draw  near,  st. 
231-232;  interprets  the  imprison- 
ment of  Eolus  =  unbridled  wealth 
increases  misrule,  st.  233-234  ;  Minos 
=Judge  of  Cruelness,  st.  235  ;  the 
complaint  of  Diana  and  Neptune^ 
the  blindness  of  fools,  st.  235-236  ; 
the  dismissal  of  the  court  =  forgetful- 
ness  of  fools,  237-239  ;  the  gods  at  the 
banquet  =  false  idols,  st.  240-249  ; 
the  Time  of  Deviation,  st.  241-249 
=from  Adam  to  Moses ;  the  poets 
and  philosphers=feigners  of  fables, 
St.  249 ;  Time  of  Revocation  =  from 
Moses  to  Christ,  st.  250-251  ;  Time 
of  Reconciliation  =  time  of  Grace,  st. 
251-252;  Time  of  Pilgrimage  =  time 


of  war,  St.  255  ;  (the  present  battle 
between  Vice  and  Virtue,  st.  256) ; 
the  complaint  of  Atropos  =  the  con- 
straint of  friendship  (Discord  and 
Death)  st.  257-260 ;  the  battle  be- 
tween Vice  and  Virtue  =  the  moral 
struggle  in  the  human  soul,  st.  261  ; 
Microcosm  =  the  world  of  man,  st. 
262  ;  Perseverance  =  continuance  of 
good  living,  st.  263 ;  Prescience  and 
Predestination  =  rewarders  of  vice  and 
virtue,  st.  264 ;  the  five  keys  given 
to  Morpheus  =  the  five  inward  wits, 
St.  265  ;  Residivation^return  to  sin, 
St.  266 ;  the  accord  of  Reason  and 
Sensuality = in  the  fear  of  Death,  st. 
275-288  ;  Doctrine  vanishes,  st.  290. 


OTHER  NAMES. 


God,  1293,  1333,  1410,  1497,  1640,  1685, 
1748,  1754,  1818,  2065,2088;  Lord 
God,  1930  ;  Lord,  1819  ;  2093,  Lord 
of  Glory,  2098  ;  Fadyr,  2104  ;  Alpha 
and  Omega,  1158,  1176. 

Ihesu,    1121,   2105;    Cryst,    1103,    1752, 


1775;  Son   of    Man,   1755;  Crystyn, 

1764. 
Mary,  2105. 
Devyll,  21,  1818,  2080. 
Peleus,  feast  of,  413. 
Phebus,  the  sun,  i,  361. 
Pictagoras,  3. 


CATALOG  OF  PLACES. 


A  lake,  St.,  i. 

Lydgate's  habitation,  st.,  2. 

The  Court  of  Minos  in  Pluto's  realm,  st.,  4. 

The  Palace  of  Apollo,  st.,  27,  36,  107,  192. 

The  Palace  of  Virtue,  st.,  187. 

The  field  of  Microcosm,  st.,  134,  135. 


The  school  of  Doctrine,  a  four-square 
arbor,  st.,  212. 

Fantasy,  35,  the  dwelling  place  of  Mor- 
pheus. 

Synay,  Mount  of,  1747. 


GLOSSARY. 


(For  a  fuller  explanation  of 

Abew,  1063.     See  beu<. 

Abhominable,  adj.,  711,  abominable. 

Aboorde,  24S.     See  borde. 

Abusion,  sb.,  660,  abuse. 

Abydyng,  sb.,  34,  dwelling  place. 

Abyte,  vb.,  194,  abides,  remains. 

Accusement,  sb.,  160,  accusation. 

Adryomancy,  sb.,  869,  (Aero-?  or  Hy- 
dro-?) divination  by  air  (or  water). 

Adulacion,  sb.,  644,  flattery. 

Afore,  adv.,  1 120,  before. 

Afray,  sb.,  729,  battle. 

Aftyr,  prep.,  76,  in  accordance  with ; 
aftyr,  adv.,  1 024,  afterwards. 

Agayn,  prep.,  100  and  often,  against. 
See  ayetie. 

Aldyrs,  490,  579,   gen.   pi.  of  all,  althrys 

599- 
Allyaunce,  sb.,  991,  alliance. 
All  be,  conj.,  476,  al-be-it. 
Aloft,  adv.,  loi,  in  the  air,  on  high. 
Altherlast,  186,  last  of  all. 
Aly,  si).,  18 10,  ally. 
Ambidextres,   sb.,    707,  double   dealing 

persons. 
Ambyguyte,  sb.,  10 12,  ambiguity. 
Anone,  adv.,  14,  1615,  soon. 
Apply,  vb.,  485,  incline. 
Aray,  sb.,  282,  296,  dress. 
Arere,  adv.,  962,  to  the  rear. 
Armure,  sb.,  931,  armor,  weapons. 
Arow,  763  =  a  row,  host. 
Asaute,   vb.,    5S8  ;     sb.,    assawie,    1049, 

assault. 
Asay,  vb.,  980,  try. 
Asondre,  adv.,  66,  asunder. 
Aspyed,  vb.,  1368,  spied. 
Astert,  vb.,  1267,  escape. 
Astonyed,    vb.,    131 1,    astounded,    dis- 

maved. 


nianv  words  see  the   Notes.) 

Astyrlabes,  sb.  pi.,  1896,  instruments  for 

taking  altitudes  of  the  sun  and  stars 

(astrolobes). 
Ateynt,  vb.,  362,  disgraced,  afflicted  with 

sorrow. 
Atwene,  prep.,  2006,  between. 
Atwyx,  prep.,  1966,  between. 
Auaunce,    vb.,     954,    advance ;     imper., 

ai'aioit,  1 121. 
Auauntage,  sb.,  727,  1033,  advantage. 
Auauntours,  sb.,  711,  boasters. 
Auaylyd,  vb.,  19,  helped  ;  ovale,  vb.,  360, 

bow  down  —  perhaps  =  to  have  force. 
Auenaunt,  adj.,  885,  agreeable,  handsome. 
Auentur,  sb.,  944,  chance,  adventure. 
Auoutry,  sb.,  649,  adultery;  auouterers, 

711. 
Avowe,  sb.,  983,  vow. 
Auyse,  vb.,  866,  advise;  sb.,  1352,  advice. 
Auysment,  sb.,  140,  deliberation. 
Awayters,  sb.,  1741,  waiters. 
Awter,  sb.,  1537,  altar. 
Ax,  vb.,  520,  ask;  axyd,  1383. 
Ay,  adv.,  119,  256,  966,  ever. 
Ayene,  prep.,  19,  and  often,  against.     See 

agayn. 
Ayeyn,  adv.,  63  and  often,  again. 

Bake,  sb.,  1905,  back. 
Balaunce,  sb.,  1012,  scale,  decision. 
Bankes,  sb.  105,  shores  of  the  sea. 
Banket,  sb.,  188  and  often,  banquet. 
Batayll,  sb.,  753,  loio,  etc.,  battle. 
Baudys,  sb.,  700,  bawds. 
Bawdryk,  sb.,  285,  belt. 
Bayll,  sb.,  1259,  bailiff. 
Baytys,  sb.,  596,  lures. 
Be,  vb.,  115  and  often,  been. 
Bedene,  adv.,  277,  together,  in  order,  or 
perhaps  an  expletive. 


106 


Glossary. 


107 


Beforn,  adv.,  819;  before,  1792,  before. 

Begoon,  vb.,  441,  suffered. 

Begylyd,  vb.,  571,  diverted. 

Beheste,  sb.,  481,  promise. 

Behoue,  sb.,  1260,  advantage. 

Beleue,  sb.,  1679,  belief. 

Bende,  sb.,  1172,  band,  company. 

Benedycyte,  1594,  bless  ye,  equivalent  to 
thank  God. 

Benygne,  adj.,  1224,  gracious,  benignant. 

Beseene,  vb.,  275, 823,  bedecked  adorned. 

Beseke,  vb.,  1929,  beseech. 

Beset,  vb.,  297,  beset,  studded  with  orna- 
ments. 

Beshut,  vb.,  1 169,  shut  up. 

Bespreynt,  vb.,  258,  sprinkled. 

Bestadde,  vb.,  1106,  placed,  sorely  im- 
perilled. 

Besy,  adj.,  563,  746,  181 1,  busy,  anxious. 

Bettyr,  sb.,  8S2,  better. 

Betyn,  vb.,  105,  beating  (?)  or  beaten. 

Bew,  adj.,  1063  (beu)  good,  fine. 

Blare,  vb.,  1299,  make  dim. 

Blyn,  vb.,  i860,  cease  from. 

Blyue,  adv.,  941,  quickly. 

Bone,  adj.,  720,  ready;  bourne,  vb.,  716, 
prepared. 

Boorde,  sb.,  1242,  conversation;  boorde 
3SS,  table  ;  aboorde  248. 

Boote,  sb.,  1351,  help,  succor. 

Borow,  vb.,  1 1 67,  bail  out,  secure. 

Boystous,  adj.,  127, 156,  boisterous,  noisy. 

Brayde,  vb.,  499,  started  up. 

Breched,  vb.,  325,  dressed  with  breeches. 

Breede,  vb.,  599,  grow,  breed. 

Brennyng,  vb.,  1529,  burning. 

Brokers,  sb.,  702,  receivers  of  stolen 
goods. 

Brybores,  sb.,  673,  robbers,  beggars. 

But  yef,  conj.,  89,  490,  unless. 

Caltrop,  sb.,  773,  an  iron  instrument  scat- 
tered in  battlefields  to  impede  cavalry. 

Carders,  sb.,  696,  card  players. 

Carnall,  adj.,  1381,  worldly,  fleshly. 

Carpe,vb.,  402,  play,  speak;  carpyng,a,'^(). 

Castaway,  sb.,  1274,  something  of  no 
value. 


Caytyffys,  sb.,  705,  caitiffs. 

Certeyne,  adv.,  112  and  often,  certainly. 

Chamelet,  sb.,  320,  camlet,  a  woven  fab- 
rik  of  wool  and  cotton,  or  of  goat's 
hair  and  silk. 

Chare,  sb.,  506,  car. 

Chases,  sb.,  58,  open  hunting  grounds. 

Chaunse,  sb.,  996,  chance. 

Chere,  sb.,  263,  284,  face,  countenance; 
greeting,  418,  423. 

Chese,  vb.,  882,  chose. 

Chyders,  sb.,  693,  scolds. 

Chyne,  vb.,  536,  to  open  in  cracks  or 
fissures. 

Chyst,  sb.,  1300,  chest. 

Claterers,  sb.,  684,  tattlers. 

Clause,  sb.,  136,  proviso. 

Cloke,  sb.,  1503,  cloak. 

Closshers,  sb.,  696,  "  closh  "-players. 

Clowte,  sb.,  1274,  clout,  rag. 

Cofres,  sb.,  273,  coffers  for  money. 

Coloppys,  sb.,  697.     See  note. 

Columbyne,  adj.,  374,  dovelike,  like  the 
flower  (?) 

Comfort,  sb.,  65,  532,  pleasure  ;  206,  con- 
fidence ;  488,  help,  support ;  coiti- 
forty d,  vb.,  761. 

Comon,  adj.,  1938,  familiar. 

Compace,  sb.,  1881,  space. 

Conceyte,  sb.,  1989,  thought,  idea. 

Concordaunce,  sb.,  2005,  agreement. 

Condescendyd,  vb.,  1974,  agreed. 

Condycyons,  sb.,  322,  states,  circum- 
stances. 

Confound,  vb.,  506,  destroy;  1042,  ?pass; 
confounders,  916, 

Coniecture,  sb.,  1694,  opinion. 

Coniugatoures,  sb.,  915,  uniters. 

Constreynyd,  vb.,  49,  urged,  compelled. 

Context,  adj.,  1503,  woven  firmly. 

Contumacy,  sb.,  638,  resistence  to  au- 
thority. 

Corner,  sb.,  35,  secluded  place. 

Correccion,  sb.,  91,  486,  correction,  fine. 

Cost,  sb.,  119,  coast;  952,  region. 

Costlew,  adj.,  296,  costly. 

Couerture,  sb.,  1723,  covering,  conceal- 
ment. 


io8 


Glossary. 


Coueyte,  vb.,  1476,  covet. 
Counterfete,  vb.,  212,  construct. 
Cowchyd,  vb.,   287,   308,    inlaid,   laid   in 

order. 
Craft,    sb.,    17 10,    liusiness,    1134    crafti- 

ne.'^.'^. 
Crakers,  sb.,  676,  braggarts,  noisy  fellows. 
Croppe,  sb.,  620,  stem  of  a  plant. 
Cropyn,  vb.,  1953,  crept. 
Cruell,  adj.,  41,  471,   harsh,  severe,  cruel ; 

cre~u<ebies,  sb.,  1643. 
Crysmatory,    sb.,    1444,    a     vessel    for 

chrism. 
Cryspe,  adj.,  374,  fresh. 
Culuer,  sb.,  1608,  dove. 
Curas,  sb.,  345,  cuirass,  breastplate. 
Cure,  sb.,  59,  455,  care. 
Cure  boyle,  617,  hard  leather;    v.  note. 
Cyrcute,  sb.,  757,  circuit. 
Cysterne,  sb.,  1526,  cistern. 

Dalyaunce,  sb.,  1509,  talk. 
Dampnacion,  sb.,  1844,  damnation. 
Darkyd,  vb.,  1193,  lay  hid. 
Dastard,  sb.,  1886,  coward  ;  pi.  703. 
Date,  sb.,  425,  date,  time.     See  note. 
Daungere,  sb.,  96,  527,  543,  2084,  power; 

165,  445  refusal. 
Debonayr,  adj.,  1441,  gentle. 
Defaute,  sb.,  460,  default;  ?  vb.,  782. 
Dele,  vb.,     146,    deal,    distribute;     deele, 

1634,  have  dealings. 
Dell,  sb.,  1333,  part;  dele,  1027. 
Deme,  vb.,  1068,  think,  judge. 
Demenyng,  sb.,  269,  demeanor. 
Deputate,  vb.,  1641,  appointed. 
Dere,  vb.,  600,  injure. 
Dereygne,  vb.,  612,  set  in  order,  tight. 
Desert,  sb.,  1288,  merit. 
Desperate,  adj.,  28,  causing  despair. 
Desyreth,  vb.,  138,  demands. 
Disclaundyr,  sb.,  658,  slander. 
Disport,  sb.,  531,  pleasure. 
Do,  vb.,  54  and  often,  done. 
Dolour,  sb.,  735,  grief. 
Domynacion,  sb.,  191 1,  domination. 
Doole,  sb.,  487,  dole,  portion. 
Dotyng,  adj.,  1394,  foolish,  childish. 


Dowte,  sb.,  761,  looi,  1321,  1929,  doubt; 
vb.,  523. 

Dowty,  adj.,  792,  brave. 

Draught,  sb.,  1232,  drawing,  move  at 
chess. 

Dresse,  vb.,  534,  direct,  reach,  prepare; 
myn  ey  gan  I  dresse,  15 12. 

Dryuylles,  sb.,  703,  idiots. 

Dubbyd,  vb.,  974,  conferred  knighthood. 

Dure,  vb.,  1777,  last,  extend;  duryd,  751. 

Duresse,  sb.,  1270,  restraint. 

Dynt,  sb.,  487,  dint,  stroke. 

Dyscordyd,  vb.,  1973,  differed. 

Dyscrese,  vb.,  232,  decrease. 

Dysdeynyd,  vb.,  168,  refused. 

Dysgysyd,  vb.,  343,  dressed,  tricked  out. 

Dysport,  sb.,  67,  531,  671,  pleasure,  rec- 
reation. 

Dyspurueyde,  vb.,  723,  unprepared. 

Dysseyte,  sb.,  647,  deceit.  ^ 

Dysvsyd,  vb.,  1400,  disused,  out  of  use. 

Effecte,  sb.,  1617, 1916,  conclusion,  mean- 
ing. 

Efte,  adv.,  560,  again. 

Eftsones,  adv.,  1007,  immediately. 

Egall,  sb.,  154,  equal. 

Eke,  adv.,  247,  also. 

Ellas,  adv.,  33,  else;  ellys,  161. 

Enbrowderyd,  vb.,  332,  embroidered. 

Enforme,  vb.,  785,  inform. 

Enhaunse,  vb.,  999,  increase,  raise. 

Entent,  sb.,  loS,  purpose;  451,  attention, 
effort;  thenteui,  1 904. 

Entresse,  sb.,  1941,  interest. 

Equyte,  sb.,  495,  justice. 

Er,  Ere,  adv.,  8,  155S,  before. 

Eschew,  vb.,  901,  avoid. 

Estate,  sb.,  27,  424,  state,  place,  rank. 

Euerychoon,  1806,  each  one. 

Euesdroppers,  sb.,  691,  eves-droppers. 

Euyll,  adv.,  38,  in  an  evil  manner. 

Evyn,  adv.,  162,  at  the  time  ;  202,  evenly; 
adj.,  886,  even. 

Execute,  vb.,  53,  bring  to  bear. 

Exorte,  vb.,  1488,  teach,  advise. 

Fade,vl).,  70,  wither,  decrease. 


Glossary. 


109 


Fall,  vb.,  230,  fall ;  10,  fallen,  pp.;  124, 
befall;  55S,  happen;  fell,  530,  hap- 
pened ;    fyll,  367,  was  fitting. 

Fande,  vb.,  131,  found. 

Fantasy,  sb.,  35,  2050,  fancy  ;  fantasyes, 
pi.,  1854. 

Fare,  vb.,  810,  proceed. 

Fasers,  sb.,  674,  hypocrites  (facers). 

Fauset,  sb.,  357  faucet. 

Fawchon,  sb.,  283,  falchion. 

Fawcon,  sb.,  803,  falcon. 

Fayne,  adj.,  11,  inclined,  desirous. 

Fee,  sb.,  995,  domain. 

Feere,  sb.,  1952,  fear. 

Feet,  sb.,  1064,  deed. 

Fell,  adj.,  434,  cruel  (many  ?). 

Fendes,  sb.,  1412,  fiendes. 

Fenyx,  sb.,  810,  phoenix. 

Fere,  52,  /«  /dv-d'=in  company. 

Ferre,  adv.,  102,  1613,  1627,  igisfar; 
ferther,  1932. 

Feruent,  adj.,  1448,  vehement. 

Fet,  vb.,  544,  bring,  fetch. 

Feynt,  adj.,  80,  359,  weak,  lacking  color 
and  energy. 

Finaunce,  sb.,  1242,  fine,  forfeiture. 

Flayn,  vb.,  1567,  flayed. 

Foly,  sb.,  1631,  2097,  foolishness,  sin. 

Fone,  sb.,  pi.,  1748,  foes. 

Foom  (?),  sb.,  104,  foam. 

Forteresse,  sb.,  1S7,  palace;  303  figura- 
tively as  strong-hold. 

Forse,  sb.,  1057,  matter,  consequence,  no 
forse^no  matter. 

Forsothe,  adv.,  211,  581,  in  truth. 

Foryete,  vb.,  239,  forgotten. 

Fowtyn,  vb.,  1826,  fought. 

Foyson,  sb.,  408,  abundance,  plenty. 

Frese,  sb.,  325,  a  cloth. 

Froward,  adj.,  1816,  ungovernable  ; /ro- 
wardtiess,  640. 

Fructuous,   adj.,  900,  fruitful,  profitable. 

Fury,  sb.,  53,  judgment. 

Fygure,  sb.,  1725,  form  of  speech. 

Fyn,  adv.,  1463,  very. 

Fysenamy,  sb.,  870,  physiognomy. 

Gaderyd,  vb.,  760,  gathered. 


Galaunt,  adj.,  296,  splendid,  gay. 

Gall,  sb.,  1614,  nut-gall. 

Gan,  vb.,  202,  534,  began,  and  used  as 

auxiliary  =  did. 
Gape,  vb.,    1316,  desire,  stand  in  expecta- 
tion of. 
Garnysshyd,  vb.,  377,  adorned. 
Gastes,  sb.,  754,  guests,  (cf.  Lat.  hostis) 

followers. 
Gate,  vb.,  1836,  won. 
Gawdy,  adj.,  320,  gaudy,   perhaps   dyed 

with  weld. 
Geere,  sb.,  886  ?  riches  (or  ?  jeer). 
Genalogy,  sb.,  854,  lineage. 
Geomansy,  sb.,  868,  divination  by  earth. 
Gesse,  vb.,  1386,  think,  suppose. 
Get,  sb.,  1678,  1657,  fashion. 
Getters,  sb. .  693,  ?  swaggerers  or  ?  thieves. 
Gladyd,  vb.,  383,  made  glad. 
Glosyng,   adj.,  2081,  flattering;    glosers, 

sb.,  683,  flatterers. 
Go,  vb.,  1396,  gone. 
Gonnes,  sb.,  1038,  guns. 
Goostly,  adj.,  852,  spiritual. 
Gramercy,  575,  many  thanks. 
Greefe,  sb.,  47,  harm;  216,  sorrow. 
Grogyng,  sb.,  217  (grochyng)  grumbling, 

malice. 
Grounde,  sb.,  304,  reason,   agency,   1690, 

place. 
Gryffyng,  sb.,  1718,  grafting. 
Guerdoun,  sb.,  2087,  reward. 
Guy,  vb.,  1720,  guide. 
Guytornes,  970,  (Pguydons)  cavalry  flags. 
Gyldyn,  adj.,  367,  golden. 
Gymlot,  sb.,  357,  gimblet. 
Gyse,  sb.,  1965,  manner. 

Habundaunce,  sb.,  1714,  abundance. 
Habylyte,  sb.,  1247,  ability. 
Habytacle,  sb.,  11,  habitation. 
Happyd,  vb.,  419,  chanced. 
Hasardoures,  sb.,  696,  gamblers. 
Haunt,  sb.,  1295,  dwelling;  hauntyd,  119. 
Heede,  sb.,  10,  head. 
Heede,  sb.,  1815,  care. 
Hele,  sb.,  1853,  health. 
Hem,  pr.,  1636  and  often,  them. 


no 


Glossary. 


Her,  pr.,  47,  65,  1635,  their. 
Herber,  ^l).,  1479,  arbor. 
Hermyne,  sb.,  266,  ermine. 
Herowde,  sb.,  719,  herald. 
Heuynesse,  sb.,  186,  slowness,  10  heavi- 
ness. 
Heynous,  adj.,  962,  hateful,  reprehensible. 
Hit,  pr.,  62  and  often,  it. 
Hogy,  adj.,  1095,  huge. 
Holly,  adv.,  2014,  wholly. 
Hoole,  adj.,  967,  whole. 
Houyd,  vb.,  1608,  hovered. 
Howe  be  hit,  conj.,  1081,  how-be-it. 
Hulke,  sb.,  88. 

Hy,  vb.,  765,  hie;  hyghyd,  941,  hied. 
Hydyr,  adv.,  604,  hither. 
Hygh,  adj.,  73,  great. 
Hygh-weyes,  sb.,  1460,  high-ways. 
Hyghyd,  vb.,  941,  hastened. 
Hym,  pr.,  128  and  often,  them  ;  also  him. 

Impotent,  sb.,  1553,  sick  man. 
Inconuenyent,  sb.,  415,  inconvenience. 

lape,  sb.,  525,  jest,  mockery. 
lugement,  sb.,  161,  the  court  sentence, 
lurysdyccion,  sb.,  iiii,  power, 
lust,  vb.,  1099,  joust. 

Karyk,  sb.,  88,  cark,  a  kind  of  ship. 
Kendall,  adj.,  356,  describing  a  kind  of 

cloth. 
Keruell,  sb.,  87,  caravel. 
Knowleche,  sb.,  529,  knowledge. 
Knyt,  vb.,  991,  united  ;  knet,  1 186  ;  knette, 

2008. 
Konnyng,  sb.,  854,  wisdom. 
Krany,  vb.,  536,  crack  into  fissures. 
Krauers,  sb.,  534,  crevice. 
Kynde,  sb.,  1647,  nature;  1544,  kind. 
Kyrtyll,  sb.,  332,  an  outer  garment. 

Lak,  sb.,  369,  lack. 
Langoure,  sb.,  1853,  languor. 
Lappyd,  vb.,  126,  wrapped. 
Large,  sb.,  1239,  liberty. 
Largely,  adv.,  1637,  freely. 
Largesse,  sb.,  1327,  liberty. 


Lastyuyous,  adj.,  686,  lascivious. 

Laurer,  sb.,  791,  laurel. 

Lawe,  vb.,  404,  laugh. 

Leese,  vb.,  iioo,  lose. 

Leme,  sb.,  1609,  light. 

Lere,  vb.,  887,  learn. 

Leme,  vb.,  957,  teach. 

Lesynges,  .sb.,  687,  lies. 

Let,  vb.,  1 130,  hinder ;  251, avoid,  neglect; 
529,  given;  956,  let;  sb.,  319, 
hinderance. 

Lewde,  adj.,  403,  worthless,  perhaps 
loud;  sh.,  le~a<denesse,  1633,  free  action. 

Loft,  see  ahff. 

Longeth,  vb.,  1327,  belongs. 

Loore,  sb.,  2074,  wisdom,  lore. 

Lore,  vb.,  1309,  lost. 

Loselles,  sb.,  714,  worthless  fellows,  lords. 

Lothe,  adj.,  881,  loath. 

Lowte,  vb.,  1089,  1439,  1925,  bow,  yield. 

Lurdeyns,  sb.,  686,  block-heads. 

Luskes,  sb.,  714,  lazy  fellows. 

Lust,  sb.,  1307,  strength,  desire;  1277, 
wish. 

Lyeftenaunt,  sb.,  1254,  lieutenant,  repre- 
sentative. 

Lyght,  adv.,  1201,  lightly. 

Lyke,  vl).,  225,  please. 

Lyklynes,  sb.,  1066,  probability. 

Lyst,  vb.,   1007,  wished;    1291,  wish. 

Lythe,  vb.,  105,  lies. 

Mace,  sb.,  476,  mace. 

Malapert,  adj.,  503,  impudent,  forward. 

Males,  sb.,  686,  pockets. 

Manaces,  vb.,  61,  threatens. 

Maner,   sb.,  69,  kind  of;  on  a  maner,  5; 

any  maner  wey,  1735' 
Marre,  vb.,  556,  destroy. 
Mastresse,   sb.,  243,  mistress,  governess. 
Mawgre,  prep.,  1381,  in  spite  of. 
Mede,  sb.,  756,  merit. 
Medewes,  sb.,  259,  meadows. 
Mekyll,  92,  "inasmekyll  as"  ;    mochyll, 

1 8 1 3. 
Mene,  sb.,  11 95, mediator;  adj.,  946, mean. 
Mene,  adj.,  1720,  mean,  low. 
Merueyle,  sb.,  103,  marvel,  wonder. 


Glossary. 


Messe,  sb.,  257,  plate,  table. 

Mesure,  sb.,  84,  degree,  out  of  viesure^ 

beyond  due  degree  or  bounds. 
Meuyd,   vb.,   145,  proposed;    meve,  431, 

propose. 
Meynt,  vb.,  361,  mingled. 
Meyny,  sb.,  853,  followers,  army ;  meyne, 

Monacorde,  sb.,  7,  agreement. 

Moo,  863,  1600;  more,  1606,  moore  lygi. 

Mood,  sb.,  1 57 1,  manner. 

Mortall,  adj.,  732,  1450,  deadly. 

Mowte,  vb.,  1951,  been  able. 

Mowthe,  sb.,  2060,  mouth. 

Multyplyers,     sb.,     371,     681,     money 

makers. 
Murre,    sb.,    329,    murre,  a   cold    in    the 

throat. 
Muryd,  vb.,  1460,  enclosed,  walled. 
Myscheue,  vb.,  523,  do  harm;  sb.,  mys- 

chyef,  620. 
Myddes,  sb.,  934,  midst. 
Myte,  sb.,   1607,  1814,  mite,  thing  of  no 

value. 

Ne,  1 197  and  often,  not. 
Nere,  adv.,  i,  nearly. 
Newe,  adv.,  562,  newly. 
Next,  adj.,  551,  nearest. 
Noonys,  502,  nonce. 
Nouelte,  sb.,  1705,  new  thing. 
Noy,  vb.,  774,  annoy. 
Nygromansy,  sb.,  867,  divination  by  the 
dead. 

Obstacle,  sb.,  9,  hinderance. 

Odoryferous,  adj.,  336,  fragrant. 

Offyce,  sb.,  494,  employment. 

On,  sometimes  written  00,  117,  one. 

Onwarde,  adj.,  162,  further. 

On  lyue,  1851,  alive. 

Oon,  6  and  often,  one. 

Oonys,  adv.,  11 27,  once. 

Opteygne,  vb.,  1353,  obtain. 

Or,  conj.,  752,  ere. 

Ordynatly,  adv.,  203,  in  good  order. 

Ordynaunce,  sb.,  245,  decision,  law. 

Ornomancy,  sb.,  869,  divination  by  birds. 


Ospray,  sb.,  813,  the  fish  hawk. 

Ost,  sb.,  668,  host ;  hooste,  1 124,  cf.  Fr.  ost. 

Othes,  sb.,  502,  oathes. 

Ouches,  sb.,  297,  jewels. 

Outher,  conj.,  33,  either ;  oivther,  480. 

Overstert,  vb.,  1593,  ?  overlooked. 

Oweth,  vb.,  91,  is  under  obligation,  fol- 
lowed by  an  objective  clause  intro- 
duced by  an  infinitive,  with  to,  as  in 
Chaucer. 

Pak,  sb.,  368,  company. 

Panter,  sb.,  822,  panther. 

Parable,  sb.,  1987,  parable. 

Parciall,  adj.,  153,  partial. 

Parde,  619,  1275,  (par  Dieu). 

Party,  adj.,  316,  partial,  favoring  one 
party. 

Pase,  sb.,  632,  step,  way. 

Passyd,  vb.,  368,  surpassed. 

Patent,  sb.,  496,  written  bond  of  office. 

Pauyse,  vb.,  1640,  used  refle.xively — bring 
to  pause. 

Pawmestry,  sb.,  870,  divination  by  the 
hand. 

Paynym,  adj.,  1679,  pagan. 

Penowns,  sb.,  970,  small  banners. 

Pere,  sb.,  808,  equal. 
Perfyte,  adj.,  1491,  perfect. 
Permyssyue,  adj.,  1731,  permitted. 
Perpetuell,  adj.,  899,  constant. 
Pesecoddys,  sb.,  493,  pea-pods. 
Pety,  adj.,  827,  inferior. 
Peyne,  sb.,  746,  181 1,  pain,  trouble. 
Plenteuous,  adj.,  408,  plenty,  cf.  O.  F. 

plentevous. 
Plesaunce,  sb.,  798,  pleasure;  plesere,  197. 
Plyght,  vb.,  1473,  pledge. 
Polytyk,  adj.,  1742,  wise. 
Ponderously,  adv.,  9,  heavily. 
Posternes,  sb.,  1296,  1849,  gates. 
Poudryd,  vb.,  266,  powdered. 
Praters,  sb.,  674,  trifling  talkers. 
Precept,  sb.,  1682,  command. 
Predicament,    sb.,    1329,    in     logic  =  a 

general  class. 
Prefyxyd,  vb.,  549,  appointed. 
Preparate,  vb.,  1467,  prepared. 


Glossary. 


Presse,  sb.,  256,  throng;  1755, torment. 
Prima  facie,  157,  at  first  view. 
Prophetyssa,  sb.,  1589,  prophetess. 
Proue,  vb.,  1728,  test,  determine. 
Prykeryd,  adj.,  328,  prick-eared. 
Prynte,  vb.,  1784,  impress. 
Pryse,  sb.,  1354,  contest. 
Pseudo-prophetes,  sb.,  708,  false  prophets. 
Purfylyd,  vb.,  266,  trimmed. 
Purpur,  sb.,  306,  purple  garments. 
Purseuaunte,  776,  messenger. 
Puruey,  vb.,  75,  provide;  <^i,b,  prevydyd ; 

1029,  pitrveyde. 
Puruyaunce,   sb.,   956,   1433,    provision, 

plan. 
Put,  vb.,  761,  1090,  bring   to  a   condition 

of;  put  out,  1481,  expel. 
Pyke,  vb.,  1348,  betake. 
Pylary,  adj.,  698,  pillory. 
Pylow,   sb.,   12,   pillow.     Cf.    Chaucer's 

pil7i'e. 
Pylyons,  sb.,  1577,  priests'  hats. 
Pyne,  sb.,  216,  punishment. 
Pyromancy,  sb.,  869,  divination  by  fire. 
Pyry,  sb.,  126,  storm  of  wind. 

Quelmers,  sb.,  709,  killers,  (infanticides). 
Quod,  1477,  said;   1210,  quoth. 

Rancour,  sb.,  235,  enmity,  malice. 
Ray,  sb.,  550,  striped  cloth. 
Recorde,  vb.,  272,  remember, 
Recouer,  vb.,  769,  ?  cover  over,  win. 
Recreaunt,  adj.  1256,  defeated. 
Redolence,  sb.,  161 1,  fragrance. 
Reft,  vb.,  564,  deprived. 
Reherse,  vb.,  83,  relate. 
Reioyse,  vb.,  532,  make  glad. 
Rekke,  vb.,  560,  care,  reck. 
Relese,  vb.,  8S3,  rehearse. 
Reproche,  sb.,  71,  reproach. 
Rerewarde,  sb.,  1094,  rear  gaurd. 
Resorte,  vb.,  63,  return. 
Respyte,  si).,  170,  postponement. 
Resydyuacion,  sb.,  1340,  back-sliding. 
Retourne,  vb.,  100  (active),  turn  back. 
Reuers,  sb.,  688,  robbers. 
Reyne,  vb.,  2086,  reign. 


Roode,  sb.,  1040,  cross. 

Route,  sb.,  388,  438,  company. 

Rought,  vb.,  1 197,  reached. 

Rowne,  vb.,  12,  consult  with;  rownyd, 
142,  consulted  with;  roTVftyd,  421, 
whispered;  rowners,  sb.,  687,  whis- 
perers. 

Russet,  adj.,  325,  coarse. 

Rybaudy,  sb.,  648,  ribaldry. 

Ryght,  adv.,  IQI,  very. 

Rynde,  sb.,  66,  bark  (tree). 

Sabatouns,  sb.,  346,  sabbatons,  armorial 

coverings  for  the  feet. 
Sad,  adj.,  270,  390,  1 56 1,  earnest,  serious. 
Safe,  conj.,  402,  except. 
Safecondyte,  sb.,  89,  490,  safe-conduct. 
Sakcloth,  sb.,  290,  sackcloth. 
Sanctuary,  sb.,  1446,  a  sacred  place. 
Sauns,   prep.,    1858,  without,    (v.  Nares' 

Glos.). 
Sauerys,  sb.,  336,  odors. 
Sauoryd,  vb.,  338,  smelled. 
Scalop,  sb.,  1564,  scallop-shell. 
Scisme,  sb.,  411,  division. 
Se,  pr.,  376,  she. 
Secte,  sb.,  895,  sect,  kind. 
See,  sb.,  365,  seat. 
Seere,  adj.,  1459,  dry,  withered. 
Seethe,  sb.,  97,  restoration. 
Sekerly,  adv.,  787,  surely. 
Sentence,  sb.,  136,  458,  decision;  1863, 

trutli. 
Sequelys,  sb.,  871,  followers. 
Sercote,  sb.,  276,  surcoat,  outer  coat. 
Sesyd,  vb.,  1744,  ceased. 
Sesyne,  sb.,  1455,  possession  (a  law  term). 
Set,  vb.,  2016,  settled. 
Sew,  vb.,219;   5«,  238,   entreat;  sewyd, 

1 1 98. 
Sewe,  vb.,  1023,  sowed. 
Sewerte,  sb.,  449,  surety. 
Sewre,  adj.,  524,  sure. 
Shakerles,  sb.,  675(?). 
Shaueldores,  sb.,  675  (?). 
Shent,  vb.,  1092,  destroyed,  shamed. 
Shoures,   sb.,   322,    gifts ;    shoure,    732, 

struggle. 


Glossary. 


113 


Slepyr,  adj.,  1026,  1069,  slippery. 

Smokke,  sb.,  377,  smock. 

Sobre,  adj.,  1233,  sad  ;   1660,  sober. 

Sodomytes,  sb.,  708,  fornicators. 

Soort,  sb.,  619,  troop,  company;     sorte, 

1489. 
Soot,  sb.,  618,  soot. 
Sore,  adv.,  341,  greatly, 
Sothe,  sb.,  1226,  truth. 
Sotyll,  adj.,  1694,  1701,  subtle. 
Sought,  vb.,  788,  went. 
Sownde,  vb.,  1688,  sound. 
Sowneth,    vb.,     1302,    tends,    inclines; 

so7i<nyd,  1987,  seemed. 
Spere,  sb.,  3,  sphere;  speres,  pi.,  1698. 
Spreynt,  see  bespreynt. 
Stadde,  see  bestadde. 
Stale,  vb.,  2040,  stole. 
Stant,  vb.,  1887,  stands. 
Stede,  sb.,  340,  place  ;   1 129,  steed. 
Steuyn,  vb.,  824,  proclaim,  announce. 
Stoute,  adj.,  313  —  said  of   eyes;  439  — 

said  of  words:  haughty,  resolute,  bold- 
Strayte,    adj.,    45,    strict;      adv.,    539' 

narrowly. 
Strechers,  sb.,  674,  Pilars. 
Stremes,  sb.,  1855,  streams. 
Streyngthe,  vb.,  751,  strengthen. 
Streytyd,   vb.,    1633,   restricted,  put   in 

bonds. 
Styrt,  vb.,  566,  started. 
Superfluyte,  sb.,  1824,  superfluity. 
Superfyciall,  adj.,  53S,  pertaining  to  the 

surface, 
Sustynaunce,  sb.,  336,  support,  living. 
Sy,  vb.,  1058,  saw. 
Sygne,  sb.,  1442,  miracle. 
Sykerly,  adv.,  270,  surely. 
Sylogyse,  vb.,  19,  reason,  contend,  argue. 
Symonyakes,  sb.,  680,  simonists. 
Synderesys,  sb.,  937,  syneresis. 
Syngler,  adj.,  71,  special. 
Syth,  conj.,  1354,  since. 
Sythe,  sb.,  127,  time. 
Swage,  vb.,  1038,  ?  discharge. 
Swemfully,  adv.,  1223,  sorrowfully. 
Swat,  si).,  104,  2044,  sweat.  In  2044  said 

of  bod  v. 


Take,   vb.,  59    and    often,  taken;    iakyn 

1626. 
Tane,  vb.,  2013,  taken. 
Tayll,  sb.,  754,  company,  number. 
Teche,  vb.,  1701,  teach;  taught,  1231. 
Tendre,  vb.,   135,  consider,  have  a  care 

for. 
Tenebrus,  adj.,  1169,  dark. 
Than,  adv.,  89  and  often,  then. 
The,  pr.,  52  and  often,  thee. 
Then,  conj.,  1607,  than. 
Tho,  pr.,  447,  those. 

Thorough,  prep.,  70,  on  account  of  (pre- 
ceded by  where);  thorow,  2061. 
Thought,  sb.,  1234,  1360,  2051,  anxiety, 

care  ;  1991,  thought. 
Thryd,  1776,  third. 
Thynne,  adj.,  1591,  thin. 
To,  adv.,  511  and  often,  too. 
Tong,  sb.,  367,  tongue. 
Tonne,  sb.,  1897,  tub. 
Trapure,  sb.,  815,  trappings. 
Traunse,  sb.,  15,  trance. 
Trauayll,  sb.,  197 1,  work. 
Trayne,  sb.,  773,  snare. 
Tregetours,  sb.,  685,  jugglers. 
Trespase,  sb.,  221,  injury,  offense. 
Triumphall,  adj.,  2087,  triumphal. 
Trouthe,  sb.,  1473,  troth. 
Trow,    vb.,    957,    believe;     1386,    know 

trowyd,  432. 
Try  (out),  vb.,  2071,  separate. 
Tryacle,  sb.,  12,  a  medicine,  (cf.  treacle). 
Tryfyls,  sb.,  1854,  trifles,  cheats. 
Trypartyte,  adj.,  1031,  divided  into  three 

parties. 
Tryphelers,  sb.,  685,  cheaters. 
Tweyne,  sb.,  1966,  two. 
Tyburne,  sb.,  697.     See  note  to  this  line. 
Tyde,  sb.,  334,  time. 
Tylthe,  sb.,  1710,  cultivation. 
Tyne,  1063,  tiny    (generally  preceded  by 

little,  as  here).. 
Tytyuyllys,  sb.,  694.     See  note  on  line 
094. 

Vnbrydelyd,  vb.,  1630,  unrestrained. 
Vnderlowte,  sb.,  1273,  servant. 


114 


Glossary. 


Vndyrtake,  vb.,  233, 1390, 141 1,  be  surety, 

promise. 
Vnkynde,  adj.,  1023,  unnatural,  cruel. 
Vnlustes,  sb.,  713,  idle  men. 
Vre,  sb.,  1448,  use,  practice. 
Vsyd,  vb.,  117,  was  accustomed  to  do. 
Vtter,  adj.,  594,  absolute. 

Valewyng,  vb.,  1607,  valuing. 
Varyaunce,  sb.,  244,  difference,  dispute. 
Vaward,  sb.,  602,  van. 
Verrey,  adj.,  918,  2002,  true. 
Veryly,  adj.,  2042,  truly. 
Vouchesafe,  vb.,  2019,  granted. 

Walewyng,  vb.,  557,  wallowing. 

Wanton,  adj.,  378,  sportive;  1230,  reck- 
less; sb.,  wantones,  1362,  1635. 

Ware,  adj.,  128,  aware. 

Wede,  sb.,  377,  garment. 

Wedyr,  sb.,  530,  weather. 

Welde,  vb.,  670,  wielded. 

Wele,  sb.,  56,  210,  weal,  prosperity. 

Wende,  vb.,  739,  1623,  go;  see  wene. 

Wene,  vb.,  278,  985,  think,  suppose;  'tcen- 
yng,  1 65 1,  17 13;  wend,  239;    wende, 

1344- 
Weryd,  vb.,  379,  wore. 


Wetewoldes,  sb.,  710,  tame   "cuckolds. 
Wex,  vb.,  1369,  1415,  grow. 
Whan,  conj.,  i,  when. 
Whedyr,  conj.,  24,  whether. 
Whereas,  adv.,  118,  where. 
Whereon,  adv.,  48,  whereof. 
Whew,  sb.,  1316,  2049,  hue. 
Whore,  adj.,  400,  white;  whore-berdyd- 

hoar-bearded. 
Whyle,  sb.,  129,  time. 
Wood,  adj.,  1314,  mad  (also  mad  347). 
Woote,  vb.,  621,  knows;  wete,  lOII. 
Wrapped,  vb.,  1383,  wrapped. 
Wrethe,  sb.,  417,  wrath. 
Wrought,  vb.,  1882,  done. 
Wrythers,  sb.,  674  ? 
Wyght,  sb.,  987,  1034,  man. 
Wyre,  sb.,  1872,  doubt. 
Wyse,  sb.,  51,  manner. 
Wysshe,  vb.,  1384,  direct,  recommend. 
Wyt,  sb.,  896,  wisdom. 

Ydiote,  sb.,  1963,  idiot. 

Yef,  conj.,  56,  63,  etc.,  if. 

Yeue,  vb.,  17,  77,  give. 

Yuy,  sb.,  355,  yew. 

Ywys,  adv.,  879,  1056,  certainly. 


SPFXIAL"  PHRASES  AND  PROVERBS. 


All  and  some,  192,  each  and  all,  the 
whole   maltei". 

In  especial!,  no,  1445;  1509.  especially. 

By  and  by,  202,  Ihen;  302,  J500,  one 
alter  the  other. 

More  and  lesse,  306,  536,  more  or  less ; 
1264,  altogether. 

Lest  and  moost,  766,  784,  high  and  low 
ilegree.     AIosl  or  leste,  480. 

To  or  fro,  24. 

For  and  wyde,  626. 

Make  and  marre,  556. 

For  feyre  or  foule,  475. 

For  the  nonnys,  502,  for  the  nonce. 

Out  of  mesure,  84,  102,  beyond  measure 
or  reason. 

What  in  the  deuyllys  date,  425,  exclam- 
atory. 

Howe  a  deuyll  way,  131 7,  exclamatory. 

Croppe  and  roote,  620,  the  whole  of  any- 
thing. 

Roote  and  rynde,  66,  the  whole  tree. 

Kepe  noon  in  store,  151,  keep  nothing  in 
reserve. 

Not  worth  a  peere  (pear),  597. 

Then  a  myte,  1007;  nat  a  iiiyte,  1814, 
»/y/e^^a  small  thing. 

Rekke  nat  a  strawe,  560. 

Nat  yeue  two  pesecoddys,  403. 

Bryght  as  glas,  27b. 

Breched  lyke  a  bere,  325. 

Grene  as  any  gresse,  334. 

Here  shone  as  wyre  of   goold  bryght, 

373- 
As  a  goste  came  in  wyndj'ng  shete,  420. 
Tomblyng  as  a  ball,  557. 
Harde  as  glas,  614. 
Hard  as  horn,  61S. 
Blakker  then  soot,  bi8. 
Slepyr  as  an  yele,  1026. 


As  a  castaway  or  a  shoo  clowte,  1274. 

Close  as  in  a  chyst,  1300. 

Coloryd  as  a  crystall,  1O03. 

Darke  as  a  myste  or  a  feynyd  fable, 

108S. 

Wyt   ys   oute  where  hyt  went   ynne, 

1909. 
Dreuyn  to  her  wyttes  ende,  1665. 
My  wyt  ys  so  thynne,  i()i)7. 
Ferre  ys  fro  the  wytte  and  ferther  good 

mende,  1932. 
Thy  wytte  stant  acrooke,  1SS7. 
For  feere  I  lookyd  as  blak  as  a  coole.    I 

wold  haue  cropyn  in  a  mouse  hoole, 

1952-53- 

Howe  the  game  gooth,  426,  how  the 
matter  stands. 

Ledeth  by  the  sleue,  16S0,  causes  to  fol- 
low subni  issivel  V,  cf .  /c/v  //u-  liy  the  sieve 
14,   2033. 

Cast  in  a  boon  (of  contention),  1S05. 

Hit  hyng  in  hys  balaunce,  10 12,  it  de- 
pended U[)on  his  decisions. 

Of  all  maner  greynes  she  sealyd  the 
patent,  292;  cf.  "wenyng  in  her 
honde  had  levn  all  power  of  cornys 
habundaunce"  1713-14;  v.  449,  ye 
seelyd  m\  patent. 

Take  the  mantell  and  the  ryng,  267, 
vow  perpetual  widowhood. 

Varyaunt  Fortune,  31S. 

Taught  to  drawe  another  draught,  1232, 
taught  to  make  another  move — to  do 
differently. 

Lerne  hem  a  new  daunce,  957,  teach 
them  a  new  motion. 

Fro  poost  to  pylour  was  he  made  to 
daunce,  1147,  he  was  driven  from 
one  thing  to  another  without  purpose. 


"5 


ii6 


Special  Phrases  and  Proverhs. 


Made  her  beerdys  on  the  new  gete,  1657, 

changed  their  minds. 
The  bende  of  your  bowe  begynneth  to 

slake,  1243-44. 
Put  in  prese,  1755,  enter  into  torment. 

He  must  nedys  go  that  the  deuelldryues, 

21. 
Where  vertew  occupyeth   must  nedys 

well  grow,  1372. 
A  false  myrrour  deceyueth  a  mannys 

look,   1727. 
Bettyr  late  then  neuer,  1^04. 
Bettyr  be  dede  than  a  lyve,  51S. 


He  ys  nat  as  he  doth  apere,  20S3. 

As  good  ys  ynowgh  as  a  gret  teste,  2035. 

Such  as  ye  haue  sowe  must  ye  nedes 

reepe,  1244  45. 
Bettyr  were  a  chylde  to  be  vnbore 

then  let  hyt  haue  t>e  wyll  and  for 

euerbelore,  130S  q. 
Wealth    unbrydelyd    encreseth    mys- 

rewle,  1631. 
Fooles  ouercome  ay  wyse  men,  lOfji. 
Try  out  the  corne  clene  from  the  chaff, 

2071       "take    the  best    and    let    the 

worst  be,"  2070. 


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